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Volume 10, No. 1 
Spring 1987 


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Community Television Review 3 
Volume 10, No. I 1987 

Community Television Review is published 
quarterly by the National Federation of Local Cable 
Programmers. Send subscriptions, memberships, and 
inquiries to NFLCP > 906 Pennsylvania Ave., S.E., 
Washington, D.C. 20003. Subscriptions come with 
membership in the NFLCP: Community Asso- 
ciate/Student $42 /year, Professional $60 /year, 
Patron $120/year, Non-profit organizations 
$108 /year, For profit organizations $180/year. A 
subscription can be obtained separately for $ 1 2/ year 
for individuals, $20/year for libraries, or $30/year 
for organizations. Address advertising inquiries to 
Community Television Review, P.O. Box 161617, 
Sacramento, CA 95816, (916) 4156-0757. Contents 
Copyright © 1987 by the National Federation of 
Local Cable Programmers, Inc. — Non-profit tax 
exempt organizations may reprint items from the 
CTR (with exception of materials copyrighted by 
others), provided they credit CTR and notify the 
NFLCP of the reprinting. All others must obtain 
advance written permission. 

Managing Editor: 

Dave Bloch 

Editorial Board: 

Susan Bednarczyk, Trisha 
Dair, Jean Rice, Bill 
Rushton, George Stoney, 
Steve Israelsky, Margie 

Design & Layout: 

GMW Communications 


Jan Lesher, Chairperson, Trisha Dair, Treasurer, 
Alex Quinn f Treasurer, Sharon fngraham, Secretary, 
Frank Jamison, Martha Schmidt, Dirk Koning, Fred 
Johnson, Steve Israelsky, Rika Welsh, Susan Adams 
Lloyd, Chuck Sherwood, Alan Bushong, Joe Van 
Eaton, Tom Volgy, Nevada Hudson, Cliff Hall, Rose 
Rumney, Venita Peyton, Gail Copen, Jan Sanders, 
Ricardo Rodriquez, Tom Karwin, Jewell 
R van -White. 


Letter From The Managing Editor 


Unpredictable Vacuum: The Electric Way* 


Deep in the Arts of Texas 


Community Television and the Arts: Austin Style 


Promoting Take Art to Heart 7 


Classified Advertising 


Tampa Bay Performs 


Arts Matter at MATA 


Tips For Shooting Performances 



Community Television Review Index 


Community Access Television Fills a Need in Bowie 


The Videot Goes to NAB 


NFLCP Bulletin Board On-Line 


Pikas or Dinosaurs?: The Story of a Museum Television Show 


Cover photo of 

Deborah Hay 

© 1986 Rick Patrick 

4 Community Television Review 

Volume 10, No. I 1987 

Letter From the Managing Editor 

By Dave Bloch 

nning efforts around the country. Includes 
articles on programming, a survey of 50 

programming operations, a list of program 
sources and more. A great resource for 
any office. (50 pages, $15.00 postpaid.) 


Describes entry-level opportunities in: 

• cable systems 

• program production & services 

• engineering 

■ government 

• law 

■ related fields 

Includes 15 appendices of "Who's Who" in 
the cable industry, government, press, citi- 
zens' groups, plus placement services and 
training programs. (54 pages, $9,50 postpaid.) 

Also. , . 


The state of the art in cable. Includes tech- 
nology overview, glossary, case studies of 
local programming, two-way services, edu- 
cational uses, (180 pages, $18.50 postpaid.) 

Also available: 

(An Anthology) 

Call or write for free brochure: 

The Cable Television Informaton Center 
1500 North Beauregard Street 
Alexandria, VA 22311 
(703) 845-1705 

The Managing Editor of Community 
Television Review has cable! 

Those of you who have started up 
community programming facilities in 
brand new cable systems and had to wait 
months or years before you were able to 
watch the culmination of all your time and 
energy, know what a heaven-opening 
experience this can be. 

Here in Sacramento, having cable 
means I can watch two public access 
channels, an educational access channel, a 
religious access channel, and an access 
channel run by the local public TV station. 
I can listen to an access radio station, too. 

And there's Metrocable 28, the 
government access channel operated by 
long-time access advocate (and my wife) 
Speranza Avram. No, we don't watch 
every Council meeting that comes on, but 
we do constantly switch back to 28 to see if 
the tapes are running on time. 

We see the blank pages on the C.G. 
bulletin boards, call in when the audio 
dies, and watch the technical errors of new 
access producers we trained ourselves. 
Their mistakes are our mistakes — will 
watching TV ever be fun again? 

Fact is, it's more fun than ever! These 
brand new community producers are 
already doing innovative, creative, and 
important work in their new medium. 
Advanced classes in writing, performance, 
lighting, engineering and mobile produc- 
tion are filling up fast. Producers loaded 
with chutzpah have gotten permission to 
shoot in union theatres, in the sports arena 
that has an exclusive video contract with a 
big production house, and one was flown 
to Hawaii and back on an Air Force tanker 
to videotape the in-flight refculing if a figh- 
ter over the Pacific! 

And I'm working on my first access 
program in years. I enjoy writing about 
this field, but it is certainly more fun to 
really be doing it! 


I never start out intending for an issue of 
CTR to be weighted towards one geogra- 
phical location, but sometimes it sure turns 
out that way. Austin and Dallas, Texas get 

the lion's share of the Arts issue, with two 
theme articles and "The Videot Goes to 
NAB," But we also look at some great 
work being done by the access corporation 
in Milwaukee, the Performing Arts Center 
in Tampa, the Denver Natural History 
Museum, and an elementary school in 
Bowie, Maryland. 

One page of this issue looks different 
from the rest. "Unpredictable Vacuum" 
was desktop-published by Terry Terry and 
his co-workers in and around East Lans- 
ing, Michigan, where "The Electric Way" 
has been running on access continuously 
for 14 years. They may not have invented 
video feedback, but they certainly learned 
to control it and make it a true art form 
before most. 

Finally, you are invited to remove the 
center pages of this issue of CTR — they 
contain a subject index to the last three 
years of this publication. Compiling it was 
a remarkable experience; there cannot be 
any subjects relating to community pro- 
gramming that some CTR volunteer 
author has not covered. Scan through the 
index, pull out those old issues, and see 
where we have all come from (and what 
we have all been through). 

The Electric Way 

By Samuel Wilson Mills 

The Electric Way is a weekly live video 
arts program cablecast over WELM in 
East Lansing, Michigan continuously for 
the past 14 years. Is this the longest 
running live public access arts program in 
the world? Many of the concepts and 
techniques used on shows like MTV, 
David Letterman, Saturday Night Live or 
Michael Nesmith 's "Elephant Parts" have 
been seen on The Electric Way first Are 
the frontiers of public access arts 
programing in the Midwest? What follows 
is a personal account by Sam Mills - 
poet/writer/performer f recounting his 

It was a Tuesday night when I first walked 
in to the public access studios of WELM- 
East Lansing, Michigan. I had been 
asked to read some of my poetry on The 
Electric Way, a local cable TV program 
that, I was told, had "been around for 
awhile" and was always looking for 
someone or something new to cablecast. 
I had never been on live TV before, the 
people seemed nice enough, and anyway, 
it was only local cable... 

That was ten years ago. Since then my 
work on The Electric Way has covered 
everything from camera to direction, 
pulling cables to cuing talent. My interest 
in video as a medium of artistic 
expression started in those studios, and 
continues with me today. Mostly, though, 
The Electric Way is a continuing 
experiment with the idea of "First thought, 
best thought", extemporaneous creation, 
collaborative expressionism, or creating 
something on TV you cant find anywhere 
else on the dial If the E-Way has any 
rules, it's usually that there aren't any. 
Because of the informal atmosphere the 
show's contents are usually decided on 
by the crew, the number of which can 
range anywhere from a minimum of 4 
(although I think two people put on a show 
once) to a crew of 20. Aftertheshow 
there's the usual get-together at a nearby 
bar; the evening's show is discussed and, 
if there is any energy left, ideas for next 
week's show are brought up. 

There has been more than one occasion, 
however, when the entire show was 

designed less than two hours before 
airtime. Talent doesnt show; most of the 
crew doesn't show; or the crew simply 
didn't have any ideas last week, but they 
show up anyway. 

The nature of the show, its creative 
expression, means that during it's run 
The Electric Way has seen hundreds of 
people come and go as members of the 
crew and this is perhaps the secret of 
the Electric Way's longevity. Anyone 
who wishes to work on the show, in front 
or behind the cameras, can do so. There 
are knowledgeable crew members around 
to show someone the ropes of handling 

the soundboard, for example, and more 
than enough support for anyone with 
enought talent and guts to go on and do 
whatever they can on live TV. It's that 
constantly rotating crew, though, that 
often sets the creative tone of an 
unpredictable vacuum. People flow 
through, gather some knowledge, stay 
for awhile, maybe produce their own 
show or several shows, work on other 
peoples shows, and eventually, move 
on. Many who used to come have left 
the area to become 
whathaveyou in their own right. 

In many ways, I fee! strongly that the 
Electric Way has provided, and 
continues to provide, a dynamic canvas 
for people of widely divergent talents 
and interest. 

Video, and especially the creation of 
"video art" is usually a collaborative 
effort. The Electric Way has always 
provided the environment for artists and 
technicians to meet and create and in the 
process switch places for awhile. Artist 
as technician, technician as artist. In a 
medium that does require a relatively high 
level of technology, the Electric Way 
attempts, and in my view continues to 
succeed, in breaking down the barriers 
between the Artist and Technician, 
opening up new avenues of creative effort - 
- continually re-discovering the television 
as an artistic medium in itself. 

Art is probably the main premise; hang a 
painters' work on the blue scrim, do close- 
ups and pans of his or her work and key in 
shots from other paintings in the 
background all while interviewing the 
artist -- Poets are good because they 
often like to punctuate their readings with 
some animated movements. Shows 
without dialogue, shows with interviews, 
shows with dancers or musicians or 
stand-up comics, shows with original 
skrts, shows with nothing but color video 
feedback and music (an early E-Way 

The prime directive, it seems, is to do 
something different, something visually 
and conceptually unique, so that 
somebody flipping through the channels 
would stop and watch, if only for a few 
minutes. Once we interviewed an artist 
who was visiting from New York and who 
drove a taxi in Manhattan as a side job. 
We hired a Yellow Cab for two hours, 
drove it into the studio and interviewed 
him as he sat behind the wheel talking 
about driving a taxi in Manhattan and 
doing art and how he got his images while 
driving, superimposing images of his 
prints and the taxi while he was talking, 
and such— visually arresting, wild stuff. 

The Electric Way - Video Art Program 

the book: $15 + $1.50 shipping 

A Special Taste of the Electric Way 

the video: $29 + $1 .50 shipping 

specify VHS or Beta 

The Electric Way Terry N. Terry 

1 21 7 Tu r ner, Executive Producer 

Lansing ME 48906 (517) 482-3333 

6 Community Television Review 

Volume 10, No. /, 1987 

Deep in the Arts of Texas 

Front row: Linda Lunsford, Diana Chase, Pam Lange and J.R. Compton, Back row: 
Twylia Tsamis, John Leveranz, Charles Dee Mitchell, Joe Bard, Julie Ryan, Kinney 
Littlefield, James Chefchis, John Held, Jr. and Pam Nelson. Photo: Andy Hanson 

By John Held 

In the pioneering days of small-format 
video, collectives were an accepted and 
respected way of approaching documen- 
tary television. Videofreex, TVTV, Down- 
town Community TV, Ant Farm and 
Media Bus produced some of the most 
hard-hitting and meaningful video of the 
early 70's. And although the altruistic sen- 
timents which first drove the individuals 
associated with the video collectives to 
band together have been somewhat tar- 
nished by the passage of time, the collec- 
tive remains a viable and productive 
means of approaching video today as well. 
This is the story of one such group. 

After a long wait, the citizens of Dallas, 
Texas finally received access to small- 
format video equipment and training 
when Warner Amex Cable opened its first 
studios in 1982. Among the first video- 
philes to take advantage of the newly- 
opened Warner Amex facilities were a 
group of independent producers-to-be, 
most of whom met for the first time 
through the mandated basic access pro- 
duction class. They continued their associ- 
ation under the name of "Arts Eye/ 1 and 
after two years of cable programming on 
the local arts scene, producing some 
twenty hour-long programs, were asked to 
produce programs for public television. 
Becoming disillusioned with this new- 
found vehicle for fame and fortune, "Arts 
Eye" returned to its roots to produce a 
weekly three-hour program of live arts 
programming over cable. 


"Arts Eye" varied in size from ten to fifteen 
producers. They were all volunteers, with 
occupations ranging from makeup artist to 
theatre critic, librarian to commercial 
artist. Despite a lack of finances and for- 
mal schooling in video production, the 
early cable shows were praised by the art 
critic of the Dallas Times Herald as pro- 
grams which "cover the arts in Dallas 
more thoroughly and with more flair than 
commercial or public television." 

The format for the shows consisted of 

approximately ten segments lasting from 
three to six minutes in duration. The seg- 
ments were then tied together in a studio 
setting. Each monthly cable show required 
two group planning meetings; the first to 
discuss and decide upon the segments to be 
shot, and the second to review the edited 
material and decide upon studio 

Since all of this was being done with 
little more than the commitment and crea- 
tive energies of the independent producers 
and artists involved, the main reason for 
doing anything at all was — fun. Producers 

picked the subjects they wanted to cover 
and put together crews whose members 
enjoyed each other's company. All found 
the cover of being "television producers" a 
great way to meet community artists they 
respected and wanted to know better, as 
well as to meet the occasional art "star" in 
town for a gallery opening. What evolved 
was a lively, diversified program reflecting 
a wide spectrum of the arts. 

The unifying force behind "Arts Eye" 
was the participation of John Leveranz, 
then the video and cable coordinator for 
the Dallas Public Library and currently the 

head of his own production company. It is 
highly unlikely that the group would ever 
have held together without his patient 
hand. As the member with the most edit- 
ing experience, John would meet with the 
individual producers after they had 
gathered their video footage and work 
with them in editing the mate rial. This 
gave the program a unified look. 

After the segments had been decided 
upon, shot in small crews of two or three 
persons, and edited with the help of Leve- 
ranz, the program was then assembled 
with the live-on-tape studio segments. 
Program hosts were selected from the 
group, the honor usually going to John 
Branch and Dee Mitchell, theatre and art 
critics, respectively, for the Dallas 
Observer, a local alternative newspaper. 
Together they would introduce the shows 
and segments, give updated calendar 
information, and offer overviews of the 
Dallas art scene as it was functioning at the 

An interesting feature of the studio seg- 
ments was that local artists, often with 
national followings, were recruited to 
design the sets for different shows. Several 
programs were also done on location using 
a van provided by Warner Am ex, at an 
alternate art space (the 55X Gallery), and 
once at the crew's favorite watering hole. 

In spite of the energy and talents of the 
cast and crew, the studio portions of the 
scries were probably its weakest link. 
While the videotaped segments took a 
fresh approach to looking at area art, the 
studio segments tended to ape broadcast 
TV programs like PM Magazine and 
Entertainment Tonight. And, of course, 
they suffered in comparison. There was 
some discussion of dropping the studio 
portion in favor of simply rolling from one 
videotaped segment to another, but while 
the studio setting might have detracted 
from the overall look of the series, it 
allowed the "Arts Eye" producers a place 
to get together in good-natured eomrad- 
cric. And the feel of the program was 
always at least as important as the look. 
Job roles on the set were rotated each 
month. Camera, direction, videotape han- 
dling, stage managing, and audio funda- 
mentals were learned by all. 

In addition to the regular programming 
mix of local art and visiting artists, special 
thematic programs were also produced. 
Two programs featured art activities in 
specific areas of the city, Deep Ellum (the 
emerging "Soho" of Dallas) and Oak Cliff- 
After six programs, a "Best of Arts Eye" 
was culled from the 48 segments pro- 
duced. The first live cablecast of "Arts 

Eye" was on the theme of "low tech," 
which showed how an actual program was 
produced. Another live program featured 
performances of dance, performance art 
and music. 


By the end of Year Two, everyone con- 
nected with "Arts Eye" had had about 
enough. Dallas was in the midst of a 
transfer of the cable franchise from 
Warner Amex to Heritage Cable vis ion 
(eventually completed in October 1985), 
and publicity, which was never very good 
to begin with, became even worse. Most 
important, after two years of no pay and 
little credit, the producers' interest dis- 
solved to nothing. 

Fortunately, the good thing about 
videotape is that although interest may 
fade and funding (when there is funding) 
may dry up, the programming remains. 
For a two-year period, "Arts Eye" had 
documented a substantial area of the Dal- 
las art scene. The series had captured visit- 
ing artists such as Sol Lewitt, Bruce Nau- 
man, Joel Shapiro, Judy Dater and 
Shirley Clark. It had chronicled the birth 
of new arts districts in Deep Ellum and 
Oak Cliff, the move of the Dallas Museum 
of Art to new quarters, and the emergence 
of artforms new to Dallas such as perfor- 
mance and video art. 

After a lag of several months of inactiv- 
ity, encouraging news developed. The Dal- 
las public television station, KERA-TV, 
expressed interest in picking up the pro- 
gram. A series of meetings between the 

Community Television Review 7 

Volume 10, No. 1, 1987 

"Arts Eye" producers (thirteen at this 
point) and producers at KERA came up 
with a plan to produce a one-hour pilot 
show at the station's expense (about 
$25,000, which had been earmarked for 
local production). The pilot would follow 
the original cable format, videotaped field 
reports wrapped up in a studio setting with 
a host. 

KERA-TV assigned a videographer to 
the group to do the actual shooting. John 
Leveranz retained control of editing. Con- 
tent wise, the only change from the cable 
experience was coverage of a wider geo- 
graphical area- KERA serves not only 
Dallas but Fort Worth, Denton, and most 
of northeast Texas. 

Reviews of the pilot program were 
ecstatic. '"Arts Eye' Gives Insightful View 
of Local Arts," lauded the Dallas Times 
Herald in its headline. The Dallas Morn- 
ing News countered with "'Arts Eye' 
Inspiring Use of Television." KERA, 
doing its part, gave the show lots of print 
and broadcast publicity. 

Unlike cable, broadcast television gave 
the "Arts Eye" producers immediate 
audience feedback from overnight ratings. 
The show garnered a 3.5 share of the 
audience on the initial broadcast, and a 1 .5 
share on a repeat showing. That translated 
to 1 00,000 homes — more than the seating 
capacity of Texas Stadium. "Hey, we're up 
there with the Cowboys!" The group got 
paid, got watched, and were besieged by 
artists. But there were problems. 

KERA may have put up $25,000 to 
fund the program, but the producers felt 
the money was misplaced. After having 
Continued on Page 34 

"Arts Eye" on location. 

8 Community Television Review 

Volume 10, No. /, 1987 

Community Television and the Arts: Austin Style 

By Lynda Suzanne Lieberman 

The week of November 18-25, 1986 
was designated by Congress as National 
Arts Week. The congressional resolution 
stated that National Arts Week '86 "pro- 
vides a focal point to celebrate the diverse 
cultural heritage of the United States and 
the vitality of contemporary writers, artists 
and performers/* President Reagan's offi- 
cial proclamation called upon "the citizens 
of the United States to observe the week 
with appropriate programs and activities." 

It is not surprising that Austin, Texas 
rose to the occasion with the mayor and 
governor following suit, making similar 
proclamations. After all, this city proudly 
claims Lyndon B. Johnson, the President 
who established the National Endowment 
for the Arts two decades ago. 

Austin boasts an international reputa- 
tion not only for it's thriving music scene 
and vital dance, theatre and visual arts 
communities, but also for Austin Com- 
munity Television (ACTV). Arts activity 
combined with ethnic diversity had made 
Austin fertile ground for active participa- 
tion in the national arts celebration. 
Initiated by local arts service groups, the 
Austin Chamber of Commerce took the 
lead and spearheaded the effort. "Take Art 
to Heart" was the theme for the local 


ACTV manages Austin's public access 
channels 10, 32 and 33, known as Austin 
Access. "Early on in the planning for 
National Arts Week '86 we saw ACTV as 
a key player," says Ella Gam, Project 
Coordinator for Austin's local effort and a 
public access producer herself. ACTV's 
Public Relations Director was invited to 
serve on the 30- member Arts Week plan- 
ning committee. 

A sampling of visual, performing, folk 
and video arts programs were scheduled 
every evening on the Austin Access chan- 
nels throughout the week. The shows were 
primarily produced during the previous 
year, although one premiered during the 

week and another was a six-year-old clas- 
sic. Promotional spots and a video public 
service announcement were produced by 
ACTV for cablecast on the public, educa- 
tional and government access channels. 

The Chamber published a calendar 
highlighting arts events throughout the city 
and on the Austin Access channels. "The 
arts are good business and a part of the 


16^22. 1986 

exceptional quality of life Austin enjoys," 
explains Nan McRaven, Chamber Vice 
President. "We welcomed the opportunity 
to promote the week's events." 

The promotion efforts, coordinated by 
the local planning committee, resulted in 
prominent coverage in the media, particu- 
larly in the local paper. Feature stories ran 
throughout the week and the daily listing 
of events on the front page of each "Arts 
and Entertainment" section included the 
programs on the Austin Access channels. 


ACTV has been an integral part of the 
local arts community throughout its 14- 
year history, from being represented at the 
Governor's mansion to celebrate National 
Arts Week, to cablecasting of urban youth 
"hip-hop" culture programs — featuring 
rappin', scratching deejay ing and graffiti. 
In 1983, ACTV was recognized by the 
Texas Arts Alliance and the Texas Com- 
mission for the Arts with a "Texas Arts 
Award for Distinguished Contributions to 
the Arts." 

In 1986, more than 600 arts and enter- 
tainment programs were cablecast on the 
Austin Access channels managed by 
ACTV. These programs totalled nearly 

400 hours and represented eighteen per- 
cent of the total hours of programming and 
about twenty percent of the programs. 

Community television has a lot in 
common with the arts, explains visual 
artist Raul Valdez. "Art should be an inte- 
gral part of society — instead of something 
separate and out of touch with people 
says Valdez, who is responsible for a 
number of local mural projects and has 
participated in public access productions. 
"I involve people in my work and ACTV 
does the same thing by giving access to 
media. I give people paint brushes and 
ACTV gives them cameras. Given our 
technology today, community television is 
the most logical thing around." 

Public access provides a vital avenue for 
artistic expression in Austin. ACTV's suc- 
cessful relationship within the Austin arts 
community is based on a persevering 
commitment to the "first-come, first- 
served" philosoph y of public access televi- 
sion, a solid history of diverse program- 
ming, and a variety of cooperative 
community efforts throughout the organi- 
zation's existence. 


Community television provided a forum 
for arts programming as early as 1973 
when a live music show was cablecast 
from a mountaintop just west of town, at 
the headend of the cable system. In 1 976, 
through a grant from the Texas Commis- 
sion on the Arts and Humanities, a 
national arts series was cablecast with a 
week-long showcase of local productions 
highlighting dance, theatre, poetry and 

Throughout the years, the availability of 
"first-come, first-served" production 
resources has not only encouraged artists 
like post-modern dancer Diana Prechter 
to integrate the television medium into 
their work, but has produced a variety of 
unique programs, unlikely to be found 
anywhere but on public access television. 

"I think that one of the best things about 
being a working artist in Austin is the 

Community Television Review 9 

Volume 10, No. 1, 1987 

quality equipment and services provided," 
says Prechter, who has lived and worked 
in Austin for seven years. "Creating pro- 
grams of my dance for ACTV has been a 
primary component of my performance 

Non-traditional arts programs have fea- 
tured so-called "disabled" artists, such as 
Tom Giebink's series showing the artistic 
development of blind youngsters, or the 
programs highlighting performances by 
the American Deaf Dance Theatre or foc- 
using on a multi-arts workshop with 
retarded adults, 


Austin's cultural diversity has been 
reflected in all the arts represented on the 
public access channels. Music programs, 
for example, have included conjunio 
music and Latin-influenced jazz, country 
and western, gospel and blues, rock-a- 
billy, punk, garage and oompah bands. 
Shows have featured the Austin Sym- 
phony and Jerry Jeff "Mr. BoJangles" 
Walker himself. 

What role does community television 
play in Austin's music scene? "Quite a big 
one," says music videographer Tim Hamb- 
lin, who serves on the Chamber of Com- 
merce Music Advisory Board. "The list of 
shows is quite impressive. You can see 
tomorrow's stars today! For example, 
Timbuk 3 and Charlie Sexton premiered 
on Austin's public access channels and 
later became major national acts. People 
can see a wide range of local bands and 
discover that although they may have odd 
names, they're worth listening to." Hamb- 
lin has been producing the series "VidEot's 
Choice," an eclectic mix of music videos 
and live performance clips, for three years. 

Public access programs have educated 
the community about the business of the 
arts— such as the local arts group which 
sponsored and taped a City Council Can- 
didates' Forum about the arts, the Texas 
Fine Arts Association show on health and 
safety risks in the arts, the local Music 
Composers and Songwriters Competition 
and the statewide Texas Arts Awards 

Local arts shows are as traditional as a 
community theatre production of Shakes- 
pearean drama and as informal as a 
comedy "works-in-progress" workshop. 
The age range of the public access arts 
audience is also wide. Austin Video Thea- 
tre, Capitol Youth Report or the "Small 
Continued on Page 10 

Arts programs claimed a number of the 1985 Austin Access Video Awards: 
(above) 'The Pure Gold Gospel Show/' Producer: Reverend Joshua Wilson; 
(below) "Fresh, "Producer: Abe Cortez. 

Promoting 'Take Art to Heart' 

Here are the steps used by Austin 
Community Television to promote its 
National Arts Week '86 programming: 

1. A video Public Service 
Announcement for National Arts Week 
'86, as well as individual promotional 
spots for the Austin Access program 
showcase were produced and cablecast. 

2. A display board in the Central 
Access Center was designed to promote 
the week's community arts activities, 
including the shows on the Austin Access 

3. A full-page newsletter article pro- 

moted National Arts Week '86 and the 
fourteen programs scheduled during the 

4. The weekly "Program Highlights" 
column published in the Sunday news- 
paper focused on the showcased arts 

5. Press Packets were distributed to 
public access talk show producers, inform- 
ing them of the availability of guests 
involved in National Arts Week. 

6. ACTV's Public Relations Director 
served on the local steering committee 
for National Arts Week. 

10 Community Television Review 

Another Austin Access Award winner: "Raul Vaidez: Murai Artist," Producer: 
Tom Bleich. 

Volume 10, No, h 1987 

Austin Style... 

Continued from Page 9 

Faces' 1 soap opera feature children's act- 
ing, scriptwriting and directing. Children's 
work is complemented by the award- 
winning documentary of the octogenerian 
quitter, Bea Strawn. The channels have 
featured painting, potting, poetry, sculpt- 
ing, spinning, sewing, and even good old 
Texas hat making. 

"Through public access, artists bring 
their work from the theatre, studio or 
gallery into the living room of their 
audience," says ACTV President Alan 
Buller. "It not only documents the work of 
local artists, but it also encourages viewers 
to participate in community arts events 
outside their home." 

"People constantly tell me they see me 
on TV," says Diana Prechter. "Even my 
80-year-old neighbor across the street has 
watched my most recent program more 
than once. She would never come to see 
my show — I could never get her to a live 


Cooperative partnerships with arts 
groups and individual artists over the years 
have laid a foundation for a broad base of 
arts community support and involvement. 
Workshops, seminars and residencies arc 
often co-sponsored by ACTV and local 
cultural arts organizations. 

Now in its third year, the Southwest 
Alternate Media Project, for example, has 

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worked with ACTV and Laguna Gloria 
Art Museum to sponsor visual artist resid- 
encies in addition to producing "The Terri- 
tory," an annual public access series show- 
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filmmakers in Texas. 

Relationships with individual artists as 
performers and as producers have also 
developed. This year, ACTV has offered 
its non-profit organization status as an 
umbrella for more than fifteen funding 
proposals submitted by artists seeking 
production support. Potential funding 
sources include the National Endowment 
for the Arts, the Texas Commission on the 
Arts and the recently-created "Arts on 
Austin Access" project co-sponsored by 
the City's Arts and Cable Commissions. 

According to Austin Dance Umbrella 
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ACTV has been a significant partner in the 
Austin dance community. "It has helped 
tremendously with audience development, 
multiplying exposure many times over." 
The partnership between the access and 
dance communities has been mutually 
beneficial. "While the promotional and 
artistic value (of access) to the dance 
community has been great, the quality of 
our professional dance community has 
also enhanced access as a vital artistic 


Access provides an opportunity for public- 
izing many performances out in the com- 
munity that otherwise could not be pro- 
moted, according to Eloise Burrell, a 
musician and former Director of the Black 
Arts Alliance. "We were able to make 
PSA's and present impromptu programs 
that could provide communication with 
the public," says Burrell. "Fve had a lot 
more visibility as a musician just because 
of the programming flexibility of ACTV," 
she says. "I would even daresay that it's the 
only exposure that's guaranteed. Because if 
we can produce a videotape, we know that 
somebody will get to see it." 

Lynda Suzanne Lieberman is Public 
Relations Director of Austin Community 
Television in Austin, Texas. 


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12 Community Television Review 

Volume 10, No. 1, 1987 

Tampa Bay Performs 

By Andrea Graham 

An interview with Baryshnikov, a doc- 
umentary on Marcel Marceau, drinking 
coffee with Liza Minelli during a rehearsal 
break, backstage rap sessions with The 
Four Seasons — exciting programming 
like this will help inaugurate the opening 
of the Tampa Bay Performing Arts Center 
(TBPAC) and the introduction of video to 
Channel 41 , the channel of the TBPAC. 

On the air since March 1985, Channel 
41 is one of the several community pro- 
gramming channels that Jones Intercable 
has made available to the City of Tampa. 
Currently, the channel is programmed by a 
group of volunteers as an alpha-numerics 
bulletin board. Screens include a local arts 
calendar, Shakespeare quotes, a history of 
musical instruments, "Turntable Tidbits," 
biographies of major artists, quotes from 
works of American playwrights, and, of 
course, information about the TBPAC. 

Once the channel becomes fully acti- 
vated with video, the goal of the channel 
will be to promote the performances hap- 
pening at the three-hall performing arts 
complex that is scheduled to open in 
summer 1987. We will also use the chan- 
nel to increase awareness, to help educate, 
and to entertain. 

Meanwhile, TBPAC cable TV volun- 
teers have been working at the Jones 
Intercable public access center to learn 
how to produce television. The fruits of 
this hard work have culminated in "From 
the Center," a weekly interview program 
highlighting people involved in the design, 
building and managing of the Center as 
well as artists from the community. The 
show has been cabiecast for about six 
months on the public access channel. A 
new program called "Off Center" is just 
starting production and will consist of 
comedy skits, performance of original 
works, and creative, innovative video 

Once TBPAC's channel is cablecasting 
video instead of just the alphanumeric bul- 
letin board, local production will be only a 
small part of the programming. As major 
artists are booked to perform at the Center, 
video clips will be requested from their 
agents so that an interesting "What's Hap- 

pening at the Center This Week" show can 
be produced. In addition, video programs 
from the various distribution houses and 
other access channels around the country 
will be cabiecast. 

Another aspect of TBPAC's cable TV 
operation is documenting the building of 
the Center itself. For several months, 
a committed group of videographers and 
assistants have donned hard hats and 
dragged video equipment all over the 
construction site of the new Tampa Bay 
Performing Arts Center- This "video 
archive" is updated about once a month 
with a new site shoot. It is difficult work, 
as this archive journal record shows: 

It's about 110 degrees in the shade, the 
equipment has made one shoulder per- 
manently lower than the other, one leg of 
the tripod is sinking into Mother Earth 
( why only one leg? why can *t all three sink 
in unison?), we almost lost our audio man 
under a concrete slab that was being 
lowered into place, and the heavy noise of 
construction is drowning out the interview 
with the contractor who warned us that he 

had only three minutes to spare. So, this is 
location shooting? When does the fun 

Video and the arts are still fertile territo- 
ries for creativity at this early stage of their 
development. At TBPAC, we feel that 
Channel 41 could become an integral part 
of the performing arts experience in the 
community. What about M7V-style music 
videos for Broadway showtunes or classi- 
cal music? What about children perform- 
ing and producing television for children 
on television? What about taped master 
classes conducted by the famous artists 
who will be performing at the Center? As 
we say in show biz, "The best is yet to 

CTR readers with arts programming or 
ideas to share are invited to contact the 

Andrea R. Graham 
Assistant Executive Director 
Tampa Bay Performing Arts Center 
P.O. Box 518 
Tampa, FL 33601-0518 
(813) 229-7827 

Community Television Review 13 

Volume 10, No. 1, 1987 

Arts Matter at MAT A 

By Dave Keyes and Mary Shanahan 

Graphics and video. Dance and Video. 
Music and video. Performance video. On 
and on video. Arts and access are a natural 
Going way beyond videotape macrame, 
community programming can promote 
art, document art, and help us understand 
art; but creating videoactive art is really a 
pulse stimulator. 

A burgeoning of arts establishments in 
Milwaukee, an increasing recognition of 
performers, the availability of quality 
access facilities, a media sophisticated 
community, and aggressive outreach to the 
arts community have all contributed to the 
varied and successful collage of arts pro- 
gramming at the Milwaukee Access Tele- 
communications Authority (MATA). 


Arts overall deserve more support, and 
access can help legitimize and advertise 
artists. Access programming can be par- 
ticularly effective for those smaller artists 

and organizations who can't afford large 
advertising budgets. 

Some artists have raised the concern, "If 
I put it on TV, 111 lose my audience," but 
community producer Peg Haubert thinks 
"TV can provide the audience with a more 
intimate experience. Everybody gets a 
front row seat." Access programs give 
viewers who may not otherwise come to a 
show, a chance to sample the artists' work. 
Access producer and theatrical Jack-of- 
all-trades David Drake has taped eleven 
performances of his company, "Dance- 
Circus". David says, "I like showing my 
programs to an audience who wouldn't or 
couldn't be there otherwise, like some of 
my elderly neighbors." 


At MATA, Thursday nights are set aside 
for "Access Alive," a 3-hour "simmering 
stew of local notables. . .culture vultures 
& other non-sequiturs." Producers sign up 

for their own half hour segment and then 
help work as crew for other segments. In 
addition to being a good training ground 
for ne w producers and crew, this magazine 
forum provides artists a chance to experi- 
ment and promote upcoming events. 
Segments have included previews of 
upcoming repertory and dance perfor- 
mances, local musicians, dances by stu- 
dents from the High School of the Arts and 
many others. 

Producer Peg Haubert features local 
musicians and entertainers on her segment, 
"Second Street Beat." Though shot in the 
studio, this regular feature is brought to the 
audience from a different fictitious loca- 
tion every week. "MATA is the best play- 
ground in town," says Haubert. 

A particular topic or event can also be a 
great way to pull artists together. In early 
March, "Access Alive" featured a Mardi 
Gras evening. Local actors, poets, and 
musicians presented "Irish Stew" on 
"Access Alive" to celebrate St. Patrick's 

The success of "Access Alive" is due in 
large part to the cooperation of a number 
of artists. This allows arts programming to 
develop as a series and hence develop a 
regular viewing audience. A segmented 
magazine format allows artists to do easier, 
shorter pieces and can provide the variety 
necessary to stimulate "zombie" viewers. 

Pete Christensen has been producing a 
comedy/variety program on a weekly 
basis for almost 2 years. His show is taped 
in front of a live audience at a local night- 
club. Pete ties the program together as 
emcee and stand-up comic, and features 
local bands, comedians, experiments by 
Mr. Science of the Milwaukee Public 
Museum and interviews with national per- 
formers. In this context "Theater Tesse- 
racf and other local drama groups regu- 
larly present tidbits of upcoming shows. 
Representatives of the Milwaukee Art 
Museum, local galleries, and the artists 
themselves often appear to discuss and 
present samples of shows. If it's happening 
in Milwaukee that week it will probably 
be on Pete's show. Throw in a bit of sports 

Continued on Page 14 

Tips For Shooting Performances 

Creating a videotape is easy, creating a 
good program is a little harder! Here are a 
few tips for shooting art performances: 

1. Observe a rehearsal of the perfor- 
mance, take notes for camera placement, 
directing, times to change tape, etc. 

2. Do a complete site survey - (See 
"Doing a Site Survey" by Vicki Cason in 
CTR Volume 9, No.3. — Ed.) 

3. Would a single camera or multiple 
camera shoot be most practical? Is electri- 
city going to be available to you? 

4. Determine whether to shoot on 
location or in the studio where you can 
control the production elements more 

5. Will the performers work better 
with or without an audience? Comedians 
must have an audience to play off of and 
respond to. 

6. Make sure the performers know 
that the cameras will occupy some 
audience space and they should play to 

them as a member of the audience. 

7. Try to place the cameras at eye 
level or above. Low camera angles shoot- 
ing up at a stage do not make good camera 

8. Quality images depend on enough 
light. Can you add light to bring up the 
intensity? If not, is the performance worth 
shooting anyway? 

9. If colored gels are being used on the 
lights, you must white balance under white 
(ungelled) light first or you will cancel out 
the effect of the gels. If this is not possible, 
use the studio "Preset" (3200 degrees K.) 
white balance found on most cameras. 

10. Does the group or facility have an 
audio system you can plug into, or will you 
have to set up microphones yourself? Do 
you possess all of the necessary cables and 
connectors that you need? Always use 
headphones to monitor the audio. 

11. Do you have copyright, location 
and talent clearances? 

14 Community Television Review 

MATA s weekly arts program 'Access Alive" features three hours of dance, music, 
interviews and video adventures. Photo: Jim Brozek © 1987. 

Volume 10, No. /, 1987 


Continued from Page 13 

commentary and that's the "Pete Chris- 
tensen Comedy and Variety Hour. 11 


Arts publications and those who write 
about local arts and culture at community 
newspapers are natural allies of access. Let 
them know what you're up to! We invited 
the editor of the Milwaukee publication, 
Art Muscle to attend "Access Alive." The 
magazine will soon publish a feature story 
on MATA and what it offers the arts 

Community newspapers, who often 
provide a great deal of support for local 
artists, deserve the support of access organ- 
izations. To this end, MATA has placed 
ads promoting producers' programs in the 
community newspapers. The ads cost less 
than those in a major newspaper and have 
enabled readers to see that we support 
development of the local arts community 
and arts programming on access. 

Tim Forkes was compiling the poetry 
page for the Shepherd newspaper when he 
discovered MATA. Tim is now producing 
his third program and the Shepherd is reg- 
ularly highlighting poetry and other arts 
programming. Poet Harvey Taylor was 
featured in an access program, "Focus: 
West of the River." He came in to watch 
the editing of the program and was so 
enthralled that he immediately signed up 
for training. 


"Access preserves our work in real time. . . 
similar to a musician recording," accord- 
ing to David Drake, After months and 
sometime years of practice, a performance 
is presented and gone. An access program 
is a great way to preserve these works, a 
visual history that can be shown again and 
again to new audiences. David Drake 
presented an evening of "DanceCircus" 
retrospectives on MATA. The tapes, as 
mirrors of the performances, provide a 
mechanism for performers to evaluate 
their own work. 

George Richard has been creating a vis- 
ual record of Milwaukee Architecture, 
driving down city streets with a narrative 
added. If only it could have been done here 
100 years ago! 

"Theater X" taped a couple of perfor- 
mances and, after cablecasting them, sent 

the tapes off to other cities for theaters 
there to consider booking their show. 

Documenting band performances is a 
common use of access. Beyond documen- 
tation, the dreams of local musicians can 
be brought to life. Rodney Walker wanted 
to put his tunes to video so he took access 
training and then headed off to Wisconsin 
Electric where, for his music video, they 
simulated an emergency and lit up all the 
alarms. Rod discovered MATA's freeze- 
frame capability and edited a spectacular 
first program. Rod met Pete Christensen at 
MATA and has since appeared with his 
video on the "Pete Christensen Comedy 
and Variety Hour. 


Some artists work best in metal or have a 
natural affinity for brushes. Some artists 
will easily transfer their creativity to 
camera strokes and videotape canvas. 
Maybe editing is their calling. Learning 
any new medium can take time and some 
need extra nurturing. Certainly music, 
graphics and sets are always needed and 

can provide exposure as well as an addi- 
tion to one's portfolio. 

As a class project, students at the Mil- 
waukee Institute of Art and Design have 
been trained as producers and created pro- 
grams of computer animations set to 
music, including some great promos for 
our channel. 

Taking TV to it's extreme, Rob Daniel- 
son, Professor of Film/Video at the Uni- 
versity of Wisconsin-Milwaukee, assigned 
his class to tape life in real time. The result- 
ing "Eye on Things" presents half-hours of 
parking lots, shopping malls, and other 
local environments. The intent here is to 
challenge and call attention to how com- 
mercial television packages our lives. You 
can watch a few minutes of "Eye on 
Things," grab a sandwich, come back and 
you haven't missed anything! Rob sees 
access this way: "Anything goes in access 
and that is an absolute necessity for artists. 
The spirit of diversity creates the stuff that 
new expressions are made of and gives the 
producer the chance to play with viewers' 

When creating video art rather than 

Community Television Review IS 

documenting a performance, the video- 
grapher and camera have to be included as 
collaborators, not simply as viewers. Con- 
sideration should be given to camera 
height, placement, angle and movement; 
technical needs of the camera when plan- 
ning lighting atmosphere; how the camera 
is going to interact with other elements; 
and if, when and how sound will be cap- 
tured onto the videotape. 

Live and taped video are also becoming 
more common in performance. Access 
allows an artist to experiment with time. 
Dancers can leap farther, props can disap- 
pear, a brush stroke can be brushed again 
and again, and fantasies come to life on 
tape. Prior to "2nd Street Beat," Peg Hau- 
bert produced "John E. Savage and the 
Case of the Missing Model," following the 
exploits of a detective searching for a pho- 
tographer's lost mannequin. Savage hits 
the local hot spots in his pursuit, accom- 
panied by a saxophone player seen and 
heard only by the television audience. 


The use of access as an electronic soapbox 
is what initially attracts many new users. 
However, production necessitates visual 
and aural sensitivity, leading these mes- 
sengers to explore their own creativity. 
Barbara Chudnow worked with the 
Friends Mime Theater to create "Stop 
Juggling War— Start Juggling Peace," a 
three-rninute assault of rapid-fire knives, 
scythes, and guns culminating in a joyous 
parade. Barbara's piece introduces the 
weapons in short, close shots followed by a 
succession of repeat edits of each weapon 
flying through the air — all to the tune of 
Tchaikovsky's "1812 Overture." A var- 
iety of angles and shots of jugglers and a 
fight scene lead the viewer into long, 
pondering shots of the sharp, threatening 
weapons. John Lennon's "Give Peace A 
Chance" fades in to provide a segue to a 

Volume 10, No. 1, 1987 

procession of Friends Mime characters fol- 
lowed by children of all ages carrying 
bright banners and, finally, open hands 
free of weapons. According to Barbara, 
"Access gives a voice to people who really 
need to speak out. . . Video is so relevant. 
Plus, I like to bend a medium— video 
allows you to do that." 

Barbara has also joined "Peaceworks," 
a collective of Artists Call for Peace, 
Mobilization for Survival and other local 
peace activists. "Peaceworks" is a monthly 
program about international peace, the 
arms race, and local activities. Produced as 
a magazine program, "Peaceworks" 
exemplifies access as a meeting ground for 
artist and messenger. 


Programs can be used after cablecasting 
for non-commercial showings to smaller 

Continued on Page 21 

Dreammakers, a Milwaukee area dance group, perform on "Yo! It's Happening!!!" This 
teen produced program regularly features local teen rappers, musicians, dancers and a 
soap opera followed by a live call in dealing with issues relevant to teens. 

CTR Back Issues 

Back issues of the Community Television Review are 
packed with information that is still relevant. If you 
don't have a complete set, why don't you make 
selections from the list below. 

Ji 1 

□ Making Community TV $3.50 

□ NFLCP Tenth Anniversary 
(Special Issue) $6.50 

□ Social and Political Issues $3.50 

□ Education and Cable Access $3.50 

□ Local Governments and 

Cable $3.50 

□ Focusing on Local 
Origination $3.50 

□ Access Around the World $3.50 

□ Survival of Community 
Programming $3.50 

□ Trends in Community 
Television $3.50 

















Bulk orders for CTR are: 

20- 49 
50- 99 


Enclosed find $_ 

for the issues of 

CTR I have checked off above. 








Community Television Review 17 

Volume 10, No. 1, 1987 


Community Television Review Index 

Volume 7, Number 1 thru Volume 9, Number 4 

This special section offers a long-awaited Subject Index to the last 
three years of Community Television Review, along with a listing of 
nearly all the themes of CTR, going back to when the publication 
was called the NFLCP Newsletter. 

The articles listed below answer hundreds of questions faced by 
community producers and local programming managers every day. 
Some of the issues are still available from the NFLCP. Many of the 

articles are also available in NFLCP Information packets. 

Volume and issue numbers are shown as V:I; for example, 9:4 
denotes Volume 9, Number 4. Consecutive page numbers for an 
article are shown; articles that 'jump 4 to the back of the issue are 
shown with a plus sign (+). 

Themes of Past Issues of Community Television Review: 

9:4 Winter 86 Trends in Access Development 

9:3 Fall 86 Making Community TV 

9:2 Summer 86 Tenth Anniversary Issue 

9:1 Spring 86 Social and Political Issues 

8:4 Winter 85 Education and Cable Access 

8:3 Fall 85 Government Access 

8:2 Summer 85 Cable and the First Amendment 

8:1 Spring 85 Human Services and Cable 

7:4 Winter 84 Focusing on Local Origination 

7:2-3 Fall 84 Access Around the World 

7:1 Spring 84 Survival of Community Programming 

Earlier issues are not included in this index. 

6:4 Winter 84 Labor and Cable 

6:3 Summer 83 Institutional Networks 

6:2 Spring 83 Access and Management 

6:1 Winter 83 Computers in Community Settings 

5:2 Spring 82 Women and Minorities in Community 

5:1 Winter 82 
4:4 Fall 81 
4:3 Summer 81 
4:2 Spring 81 
4:1 Winter 81 

3:3 Summer 80 
3:2 Spring 80 
3:1 Winter 80 
2:4 Fall 79 
2:3 Spring 79 

Publication was the "NFLCP Newsletter" before this date: 

Low -Power Television 
Library of the Future 
Municipalities and Cable TV 

Kids TV: Children and Community 
News from Access Eighty 
Cable TV and Education 
Third CTR issue 

Second Annual NFLCP Convention 
Premiere CTR issue 

2:2 Winter 79 CVC Conference Opposes Rewrite 

1:6 Summer 78 NCTA Convention 

1:5 Spring 78 Access in Jeopardy 

1:4 Winter 78 Agreed: Access Here to Stay 

1:2 Summer 77 Seabrook Video Collective Documents 

1:1 Spring 77 Grassroots: Six Years Later 






Bloch, Dave 
Gierky, Charlene A. 
Kaatz, Ronald B. 
Nicholson, Margie 
Spohn, Linda 

7:4 p. 14-1 5 
7:4 p,23 
7:4 p.9+ 
7:4 p. 10-11 
7:4 p. 12-1 3 

Establishing a Commercial Insertion System 
Leased Access Cadillac Style 
Local Cable Advertising: Profit Power! 
Managing your Advertising Operation 
Creative Approach to Alpha- Numerics 


Giancola, John 

8:4 pM 

Importance of a Human Values Approach to Telecommunications 


Greenfield, Laura B. 
Jamison, Frank 
Jamison, Frank R. 
LaRose, Robert et al 

8:3 p.8-9 
9:4 p30 
9:4 p.30-31 
9:4 p.31-34 

Measuring Audiences for Government Access Programming 
Research Clearinghouse 
Who's Out There 1 ? 

Report on Community Channel Performance 


Bloch, Dave 
Stoney, George 

7:2 p.38 
9:3 p. 124 3 

Audio Cables 

Truth About Video Sound 


Bloch, Dave 
Jabara, Jim 
Pease, Marc 

7:4 p, 14-15 
8:3 p.32 
8:3 p.I3 

Establishing a Commercial Insertion System 

Audio Automation: an Important Supplement for Alpha-Numeric Channels 
Why Automate the Government Channel? 


Spohn, Linda 

7:4 p. 1 2- 1 3 

Creative Approach to Alpha-Numerics 


Smith, Jay 

8:1 p.28-29 

Financial Case for Local Programming 


Bloch, Dave 

9:4 p.26 

Cable Tricks 


Beecher, Andy 

Beeeher, Andy 

Haas, Adam 

Hard en burgh, M argot 

Peugh. Karen A. 

Rad spinner, Diana Braiden 

Searcy, Chuck 

Shaffer, Drew et al 

Sherman, Kathy 

Wolf, Barbara 

8:4 p.36-37 
8:1 p.26 
7:4 p. 16-18 
9:4 p.6-7 
8:3 p.2Q 
9:4 p. 15- 17+ 
7:4 p.20-22 
8:3 p. 12+ 
8:3 p.18 
9:1 p.18-21 

Government Access Profiles 

Human Service Programming on Government Access Channels 

Local Origination in Portland: A Lesson to be Learned 

Defining Public Access in the Eighties 

MACC. Government Programming for Fifteen Citits 

Educational Access: We've Only Just Begun 

Leased Access Flourishes in Athens 

Managing Municipal Resources: Centralization vs. Decentralization 

Information at the Touch of a Button: A Profile of Southfleld f s Municipal Channel 

Cable Access and Social Change: Eight Case Studies 


7:4 p. 12- 13 

Creative Approach to Alpha-Numerics 


Eloch, Dave 
Bloch, Dave 
Bloch, Dave 
Bloch, Dave 
Bloch, Dave 
Bloch, Dave 

9:4 p.26 
9:4 p.26 
9:3 p. 11 
9:2 p.59 
9:1 p.36 
9:1 p.36 

Cab\e Tricks 

Making a Beamsplitter Box 
How Much Juice? 
Assorted Tips 

Protecting and Rejuvenating Videotape 
Ultra-Directional Microphone 

18 Community Television Review 

Volume 10, No, I 1987 


Bloch, Dave 

8:4 p. 35 ; 

Live Remote Cable casts 

Bloch, Dave 

n 11 Id 
o.J p.JJ-JH- 

Lilters and Lenses 

Bloch, Dave 

8:2 p.23-24 

Aperture, Focal Length and Depth of Field 

Bloch, Dave 

8:1 p.27 

Low Budget Live Programming 

Bloch, Dave 

7:4 p. 14-15 

Establishing a Commercial Insertion System 

Bloch, Dave 

7:2 p.38 

Inexpensive Sets and Graphics 

Bloch, Dave 

7:2 p.38 

Audio Cables 

Bloch, Dave 

7:2 p.38 

Tool Kit 


Beecher, Artdv 

9:4 p.20-22 

Sacramento Count v Llection Coverage 

Lovett. Richard 

9:3 p.32-34 

Where Silicon Meets Vidicon 

LDJ 1 l.Nlj 

Thacher, Alicia 

9 J p.lZ-ZS 

Unraveling the Editing Process 


Brey, Ron 

8:4 p.28-29 

Instructional Television: Meeting the Needs of the Adult Learner 

Dager, Donna 

R:4 p.12-15 

Providing Access to Children 

Giancola, John 

8:4 p.6-8 

Importance of a Human Values Approach to Telecommunications 

Grabiner, Liz 

8:4 p. 10-1 1 

Empowering Disadvantaged Students 

Hagon, Roger 

8:4 p. 16- 17 

Electronic Classroom in Trempeleau County, Wisconsin 

Kirkland, Don 

8:1 p.18 

Teens Communicate With Peers on Arizona Cable System 

Landers, Anne 

8:4 p. 24-25 

College News Show has an Impact 

Margolies, Eliot 

8:4 p.26-27 

Ideal Marnage: Access and DeAnza College 

McCartney, Robert G. 

»:4 p.zz-z3 

Survey Identifies Cable Utilization 1 rends in Higher Education 

McKinncy, Jane 

8:4 p.20-21 

Start Small - Plan Big 

Radspinner, Diana Braiden 

8:4 p. 1 8 

Broadband Telecommunications in the Dallas School System 

Radspinner, Diana Braiden 

9.4 p. 1 5-1 /t 

Educational Access: We've Only Just Begun 


Beecher, Andv 

8:2 p,20+ 

Government Access and the First Amendment 

D'Ari, Paul 

9:1 p.31-33 

Censorship: Can You, Should You, Would You? 

D'Ari, Paul 

8:4 p.32-34 

Experts Discuss High Court's Review of Preferred Communications 

Dean, Sidney 

8:2 p.8-9 

Leased Access: Crucial to First Amendment Rights 

Devine, Bob 

9:1 p.34-35 

Protecting the Diversity 

Johnson, Fred 

8:2 p. 18-1 9 

Public Access and Local Government: An Uneasy Relationship 

Manley, Paula 

8:2 p.22 

Political Access: Candidates Gain a Foothold on Public Access TV 

Mcyerson. Michael 

7:2 p.39 

Whose hirst Amendment is it, Anyway ■ 

Peck, Diana 

8:2 p. 6-7 

Mass Media and the First Amendment 

Peck, Diana 

7:2 p. 32 

Making Telecommunications Ready for Democracy 

Perry, Robert 

R>? n 1 9 1 1 

Obscenity Law and Cable Communications 

Van Eaton, Joe 

8:2 p. 10- 11 

Who is Preferred Under the First Amendment? 

Weightman, Donald 

8:2 p. 1 5- 1 7 

Older Rules and Newer Contexts: Public Access to Media Controlled by the Government 

Wolf, Barbara 

9:1 p. 18-21 

Cable Access and Social Change: Eight Case Studies 

8:2 p. 14 

Controversy in Austin 


D'Ari, Paul 

9:2 p.61-68 

Franchise Lees and Access Funding 

D'Ari, Paul 

7:2 p.26-28 

Optimism Reigns at NFLCP Convention in Denver 

Gcllcr, Henrv et al 

9:2 p.69-70 

Cable Franchise Fee and Access Programming 

Karwin, Tom 

9:4 p.24-25+ 

It's Time for States to Regulate Uses of Franchise i ces 

F1J A NCI lKi< Q 

Epstein, Peter 

o.j p.iO-zy 

oniiaci iviuuu lurtuon dnu iiil L.iiDit. L.ornniuniLdiions i oncy ;\li oi i7t)4 


Bcdnarczyk, Susan 

9:2 p. 19-58 

NFLCP: The Way ft Was 

Beecher, Andy 

Q-? n 1 S 1 R 

F.iirlv Days ot Cxovernment Access 

Bloch, Dave 

9:2 p,S9 

Assorted Tips 

Buske, Sue Miller 

9:2 p. 1 2- 1 3 

Development of Community Television 

Houston, Dick 

9:3 p. 15 

How to Make a Video Tape- 

Koning. Dirk 

9:4 p.7 

History o f C o m m u si i e a t i o n and Access 

Owens, Brian 

7:4 p.5-7 

Illustrious Past of Local Origination 

Stone v. George 

9:2 p.7- 1 1 

Public Access: A Word About Pioneers 

H U tVl h lyj W IN U h A 

7:2 p.33-34 

i\rLL.r Awaros JNignt 

9:3 p.3o-3o 

NFLCP Honors Hometown Winners 


Beecher, Andy 

8:1 p.26 

Human Service Programming on Government Access Channels 

Files, Carol et al 

8:1 p.12-14 

Every Child a Wanted Child: A Profile of Community Cooperation 

Freund, Henry 4 Hap" 

8:1 10-11 

W r arm Wave from Hawaii 

8T p24 

Building an Audience toi Communitv Health Ptogrammmg 

Katz, David 

8:1 p^24 

Building an Audience for Community Health Programming 

Kronenberg, Kim 

8:1 p.23+ 

Health Line to East Boston 

Ordover, Morris 

8:1 p. 16-17 

Public Programming on a Large Scale 

Rushton, William F. 

8:1 p.4-5 

Introduction (to Human Services and Cable) 

Sheehan, Ann 

8:1 p. 15+ 

Reading (PA) Experiment: Ten Years Later 

Sparks, Pat 

8:1 p.7 

Cable Access: An Untapped Resource for Human Service Organizations 

Thomas, \ olanda 

8i p 25 

Social Services tiamut 

rfTTILJf 4 \TTirc 

Giancola, John 

8:4 p.6-8 

Importance of a Human Values Approach to Telecommunications 


Bloch, Dave 

8:4 p.354 

Live Remote Cablecasts 


Peterson, Kari 

9:4 p. 18-19 

Access and the Liability Insurance Crisis 


Hagon, Roger 

8:4 p. 16-17 

Electronic Classroom in Trempeleau County, Wisconsin 

Kronenberg, Kim 

8:1 p.23.4- 

Health Line to Fast Boston 

Sheehan, Ann 

8:1 p. 1 5+ 

Reading (PA) Experiment: Ten Years Later 

liN 1 LRCOlNiNrA- 1 S 

Kahin, Brian 

J A p,Jl-J2 

Rethinking Public Access Part 2: Networking 


Brandtner-Sego, Bettina 

7:2 p.20-22 

Cable Comes to West Germany 

Davitan, Lauren-Glenn 

7:2 p. 10-1 1 

Public Access in Great Britain 

Hategan, Christa 

7:2 p.23 

Offener Kanal: An Access Experiment 

Jankowski, Nick 

7:2 p. 12- 13 

Community Programming in the Netherlands 

Spiller, Frank 

7:2 p.8-9 

Developing New Directions for Community Communications in Canada 

Steg, Adam 

7:2 p. 1 4-1 5 

France Enters the Cable Age 

Stoney, George C. 

7:2 p.5-7 

Public Access: A W orld V lew 

Stoney, George C. 

7:2 p. 16-1 7 

jr - ^ ■ ,. 17" J ^ " f 1 A IT 1 £■ T/ ' t_ 1 j. " 

Community video in Israel — A View from Kibbutzim 

Wm'tt l-fflpTl 

7:2 p.25 

International Telecommunications and in for m a 1 1 o n Po 1 ic y 

Zamir, Yehoshua 

7:2 p.IS 

LJse of Video in Ein Dor 


Bleier, Brenton A. 

9:3 p.38-39 

Cable Consci o us n ess-R aising for the Judiciary 

D'Ari, Paul 

8:4 p.32-34 

Experts Discuss High Court's Review of Preferred Communications 

Epstein, Peter 

8:3 p.26-29 

Contract Modification and the Cable Communications Policy Act of 1984 

Geller, Henry et al 

9:2 p.69-70 

Cable Franchise Fee and Access Programming 

Gurss, Robert M. 

8:2 p.2H 

Fairness Doctrine, Equal Opportunities Rules and Local Origination 

Horwood, James N. et al 

7:4 p.24-25 

Leased Access and the New Cable Law 

Johnson, Fred 

7:4 p.26-27 

Cable Communications Policy Act of 1984: What it Means for Access 

Community Television Review 19 

Volume 10, No. I 1987 

















Meyer son, Michael J, 
Mcyerson, Michael J, 
Dean, Sidney 
Gierky, Charlene A. 
Horwood. James N. et at 
Searcy, Chuck 

Caskey, Leigh A. 
Bleier, Brenton A. 
Holbrooke, Larrine S. 
Perry, Robert 
Van Eaton, Joe 
Weight man, Donald 
Bloch, Dave 
Bloch, Dave 
Fleischmann, Muriel 
Sheehan, Ann 

Braun, Paul 
Braun, Paul 
Haas, Adam 
Gurss, Robert M, 
Kaatz, Ronald B. 
Nicholson. Margie 
Noibolm, Lllen 
Owens, Brian 
Searcy, Chuck 

Avram, Speranza 
Avram, Speranza 
Beecher, Andy 
Bloch, Dave 
Bra un ( Paul 
D'Ari, Paul 
Devine, Bob 
Haas, Adam 
Hipsman, Irwin 
Johnson, Fred 
Man ley, Paula 
Nicholson, Margie 
Peterson, Kari 
Sanders, Jan 
Suitts, Steve 
Tammaro, Len 
Thomas, Robert W. 
Volgy, Tom 

Avram, Speranza 
Beecher, Andy 
Beecher, Andy 
Beecher, Andy 
Beecher, Andy 
Beecher, Andy 
Beecher, Andy 
Beecher, Andy 
Beecher, Andy 
Beecher, Andy 
Beecher, Andy 
Greenfield, Laura B, 
Pease, Marc 
Peugh, Karen A. 
Shaffer, Drew et al 
Sherman, Kathy 
Williams, Don C. 
Wilson, Coralie A. 

Holbrooke, Larrine S. 
Haas, Adam 

Bednarczyk, Susan 
D'Ari, Paul 

Hipsman, Lrwin 
Oringel, Bob 
Perry, Robert 
Beecher, Andy 
Ringarnam Jeff 
Boehm, Andy 
Boxer, Barbara 
Coelho, Tony 
Johnson, Fred 
Manley, Paula 
Manley, Paula 
Oringel, Bob 
Tammaro. Len 
Tauke, Tom 

Bartlett, Scott 
Beecher, Andy 
Bloch, Dave 
Bloch, Davt 
Bloch, Dave 
Caskey, Leigh A. 

7:2 p.39 W hose First Amendment is it, Anyway? 

8:2 p.4-5 Cable Access: Ushering in the New Era 

8:2 p. 8-9 Leased Access: Crucial to First Amendment Rights 

7:4 p. 2 3 Leased Access Cadillac Style 

7:4 p.24-2> Leased Access and the New Cable Law 

7:4 p.20-22 Leased Access nourishes in Athens 

9:3 p, 14 X Marks the Spot 

9:3 p, 38-39 Cable Consciousness- Raising for the Judiciary 

8:3 p.30 Quincy Must-Carry Decision: W ? hat Will it Mean for Access? 

8:2 p. 1 2-13 Obscenity Law and Cable Communications 

8:2 p. 1 0-1 1 Who is Preferred Under the First Amendment? 

8:2 p. 1 5-1 7 Older Rules and Newer Contexts: Public Access to Media Controlled by the Government 

8:4 p. 35 - Live Remote Cablecasts 

8 : 1 p . 2 7 Lo w B udge t L i ve Pr ogra m m i ng 

9:3 p.24-25 Quiet on the Set. , Live in 30 Seconds! 

8:1 p. 15+ Reading (PA) Experiment: Ten Years Later 

9:4 p. 10 Opening and Closing Doors in the Fun House 

7:4 p.8 Dollars and Sense of Local Origination 

7:4 pi 6- 1 8 Local Origination in Portland: A Lesson to be Learned 

8:2 p.2l + Fairness Doctrine, Fqual Opportunities Rules and Local Origination 

7:4 p.9 ^ Local Cable Advertising: Profit Power! 

7:4 p. 1 0-1 1 Managing your Advertising Operation 

9:3 p.29-30 How Portland Makes Money in Commercial Production 

7:4 p.5-7 Illustrious Past of Local Origination 

7:4 p.20-22 Leased Access Flourishes in Athens 

9:4 p. 13- 14+ Access and Change: Strategies for Successful Implementation 

7:4 p. 28 Rules and Procedures for Allocating Unused PEG Access Channels 

7:4 p.29-30 Establishing Government Access Policies 

7:2 p.38 Tool Kit 

7:4 p.8 Dollars and Sense of l ocal Origination 

9: 1 p.3 1 -33 Censorship: Can You, Should You, Would You? 

9:1 p.3 4-35 Protecting th e Di versi ty 

7:4 p. 16-1 8 Local Origination in Portland: A Lesson to be Learned 

9:4 p,8 Access Management Structures A Primer 

8:2 p. 1 8-1 9 Public Access and Local Government: An Uneasy Relationship 

9:1 p. 10-11 Candidates in Austin Enjoy Unrestricted Access 

7 : 4 p. 1 0- 1 1 M anagi ng your Ad ve rtis i ng O pc rat ion 

9:4 p, 18-19 Access and the Liability Insurance Crisis 

9:4 p.9 Transferring Management of Access 

7:2 p.30-3 1 Cable Access as a Community Asset 

9: 1 p.8+ Access Restrictions for Candidates Prevent Electioneering 

8:3 p.24 Municipally Operated Public Access: Another Model to Consider 

8:3 p.25 Balancing a Paradoxical Relationship 

9:4 p. 13- 14+ Access and Change: Strategies for Successful Implementation 

9:4 p.20-22 James City County Govern ment Access 

9:4 p.20-22 Sacramento County Election Coverage 

9:3 p,26-28 Cablecasting the Council 

9:2 p. 15-18 Early Days of Government Access 

9 : 1 p. 1 6 + Elected O ffici a Is a nd Gove rnment A ccess 

8:4 p.3 6-37 Government Access Profiles 

8:3 p.6-7 Developing a Promotional Plan for a Government Programming Operation 

8 : 2 p . 20 - Govern men t Access a n d th e Fi rst A me n d m e n t 

8:1 p. 26 Human Service Programming on Government Access Channels 

7:4 p.29-30 Establishing Government Access Policies 

8:3 p.8-9 Measuring Audiences for Government Access Programming 

8:3 p. 13 Why Automate the Government Channel? 

8:3 p.20 MACC: Government Programming for Fifteen Cities 

8:3 p. 12+ Managing Municipal Resources: Centralization vs. Decentralization 

8:3 p. I 8 Information at the Touch of a Button; A Profile of Southfield's Municipal Channel 

8:3 p.22-23 Telecommunications Planning for Local Governments 

8:3 p. 10-11 Coverage of Public Meetings 

8:3 p. 1 4- 1 7 CTIC Releases M unicipal Programming Study 

8:3 pJO Quincy Must-Carry Decision: What Will it Mean for Access? 

7:2 p ,36-37 How Local Programming Made the Cut at NCTA's 1 984 Convention 

9:2 p. 1 9-58 NFLCP: The Way It Was 

7:2 p.26-28 Optimism Reigns at NFLCP Convention in Denver 

7:2 p. 35 Convention Exhibitors 

9:4 p.8 Access Management Structures — A Primer 

9:4 p.22-23 Politics of Public Access 

8:2 p. 12- 1 3 Obscenity Law and Cable Communications 

9: 1 p- 1 6 ■ Elected Officials and Government Access 

9:1 p. 12+ Cable Access: A Vast Untapped Resource 

9:1 p.6-7 Political Campaigning on Cable TV 

9:1 p. 14- Access Offers a Rare Opportunity 

9: 1 p. 1 5 Important Too! for Public Officials 

9:3 p.34-35 Access Challenges the Structure of Television 

9:1 pi 0-1 1 Candidates in Austin Enjoy Unrestricted Access 

8:2 p.22 Political Access: Candidates Gain a Foothold on Public Access TV 

9:4 p.22-23 Politics of Public Access 

9:1 p.8+ Access Restrictions for Candidates Prevent Electioneering 

9:1 p. 13+ A Valuable Link in Constituent Communications 

9:3 p.9 Program Formats 

9:3 p.26-28 Cablecasting the Council 

9:3 p. 11 How Much Juice? 

8:3 p. 3 3-34 Filters and Lenses 

8:2 p.23-24 Aperture, Focal Length and Depth of Field 

9:3 p. 14 X Marks the Spot 

20 Community Television Review 

Volume 10, No, 1, 1987 





(Jason, Vickt 

9:3 p. 10-11 

Doing a Site Survey 

Davis, James A. 

a: I p.zu-21 

Tuning In to the Elderly 

1 i ci sen m (inn, JviuncJ 

9:1 p.24-25 

f"1iiipt fin tn** Spt 1 ivp m 1m 

y U1CL UI1 Lilt- hJCL. . .LIVC 11] JU Jv^AJ L1UZ> i 

{ t1 'ipc^r Tr^hri 

K j 1 l i St 1 , JUUU 

Q A n 97_?ft 

{ r p-tt 1 n 1 r 1 r 1 ■■ 1 i"i 1 "■ 1" 'i !"■ t P ^ rf ~? 

VJLLllllH J. ..1 JTUIL^- 

Giaeser, John 

?,.!> }■'. 1 0- J 4 

Cjetting Ttjgcthcr a Set — Part 1 

Houston, Dick 

9*3 p 15 

How to Make a V ideo 1 ape 

1 u 1 1 c y , VTCVM^C 

Truth Ahfitif Viflcn ^finiifH 


Thacher, Alida 

9 - 3 p 7^-23 

Unraveling the Editing Process 

Wilson, Corahe A. 

i>. J p. 1 kJ- 1 1 

v.uvL-[<ige in i uuiil ivicLLinjis 


Adams, Bruce 

9:1 p.23+ 

Access Provides a Forum for Discussions on National Issues 

Bartlett, Scott 

9:3 p.9 

Program Formats 

Dickson, Barbara S. 

8:1 p,22 

Top of the Line: A Well Seasoned Series 

Donofrio, Michael 

8:1 p.8-9 

Working Channel: A Local Cable Network for the Jobless 

Fites, Carol et at 

8:1 p. 1 2- 1 4 

Every Child a Wanted Child: A Profile of Community Cooperation 

Freunci Henry 'Hap' 

8:1 10-11 

Warm Wave from Hawaii 

Haas, Adam 

7:2 p.36-37 

How Local Programming Made the Cut at NCTA's 1 984 Convention 

J a bar a, Jim 

8:3 p.32 

Audio Automation: an Important Supplement for Alpha-Numeric Channels 

Kahin, Brian et al 

8:1 p.30-31 

Rethinking Public Access Part 3: Toward a National Access Service 

Kahin, Brian 

7:2 p.40-41 

Rethinking Public Access, Part 1 

Kamil, Bobbi et al 

9:4 p.34-35 

Many Annenberg/CPB Series Now Available 

Koning, Dirk 

9:1 p.22 

CRT V Celebrates Peace Day 

Kronenbcrg, Kim 

8:1 p.23- 

Health Line to East Boston 

Labuda, Dennis 

8:1 p. 19 

National AARP Enters the Cable Market 

Landers, Anne 

8:4 p.24-25 

College News Show has an Impact 

Murrow, Frank 

9:1 p. 26-2 7 

Alternative Views has an Impact 

Pine, Evelyn 

9:1 p.28-29 

Exchanging Tapes Creates New Communities 

Rogotl. Caryn 

9:1 p.30 

Deep Dish TV — More Than Pie in the Sky 

Rush ton, William \~. 

8'1 p 4-5 

Introduction (to Human Services and Cable) 

Searcy n Chuck 

7-d n 90 ^7 

Leased Access Llounshes in Athens 

Shapiro, Susan Stone 

93 p 9 

k.- 1 Kill 1 ILL l_- W 1. J 1 tv 1 1 Lg VJlULip <wUtLUllHL-S V opCL-LI Ulll 

Sheehan, Ann et al 

91 p 24-^5 

N'ii I inn'i ' l^kii^L J ■f'iri i m" 1 hr> [? • i l n (t iiTnrl 1 Ji -ii ■•*; 1 r J 1 1 i \ Pvn^riPTi^Pt 

i>idiionai issuls r orum, int. tvLti^inL anu > Uk-nitm.' i aj\ jU iiw v 

Sparks, Pat 

8:1 p.7 

Cable Access: An Untapped Resource for Human Service Organizations 

Thomas, Yolanda 

8:1 p.25 

Social Services Gamut 

8:2 p. 14 

Controversy in Austin 


Beech er, Andy 

8:3 p.6-7 

Developing a Promotional Plan for a Government Programming Operation 

Kalergis, Karen 

8:1 p.6 

Promoting Cable Access to Your Organization 

Katz, David 

8:1 p.24 

Building an Audience for Communitv Health Programming 

Nicholson, Margie 

9:3 p.30-31 

What's Your PQ? 

Suitts, Steve 

7:2 p.30-31 

Cable Access as a Community Asset 

ft AL^IolVl 

Won, Barbara 

Q ■ 1 n I B J 1 

y.l. p. 1 o-z 1 

^"'Ljm^ AfV^L Nnfl Si-'vi'il { "h'j rMTf 1 " I*ht1-iI ^'-i^H *x r 1 h 1 1 1-^ 
v^ilDlt, /lCCCSS dnU JUClill V-ElttngL. ClgUt ^^ISC l>LU(J1CS 

8*2 p 14 

Controversy in Austin 


Avram, Speranza 

7:4 p.28 

Rules and Procedures for Allocating Unused PEG Access Channels 

D'Ari, Paul 

9:2 p,61-68 

Franchise Fees and Access Funding 

D'Ari, Paul 

7:2 p,26-28 

Optimism Reigns at NFLCP Convention in Denver 

Epstein, Peter 

8:3 p.26-29 

Contract Modification and the Cable Communications Policy Act of 1984 

Johnson, Fred 

9:3 p.34-35 

Access Challenges the Structure of Television 

Johnson, Fred 

C-O n it! 10 

o,Z p. 10-17 

Public Access and Local Government: An Uneasy Relationship 

Johnson Fred 

7:4 p.26-27 

Cable Communications Policy Act of 1984: What it Means for Access 

Kahin, Brian 

7:2 p.40-4I 

Rethinking Public Access, Part 1 

Meyerson, Michael J, 

8:2 p.4-5 

Cable Access: Ushering in the New Era 

Peck, Diana 

8:2 p.6-7 

Mass Media and the First Amendment 

Peck, Diana 

7:2 p.32 

Making Telecommunications Ready for Democracy 

C™at T nlr 

bmitn, Jay 

s*j p.zo-/y 

Financial Case for Local Programming 


Jamison, Frank R. 

9:4 p.30-31 

Who's Out There? 

LaRose, Roben et al 

9:4 p.31-34 

Report on Communitv Channel Performance 


Hagon, Roger 

8:4 p.16-17 

Electronic Classroom in Trempeleau County, Wisconsin 


Kahin, Brian et al 

8:1 p.30-31 

Rethinking Public Access Part 3: Toward a National Access Service 

Kahin, Brian 

7:4 p.31-32 

Rethinking Public Access Part 2: Networking 

Rogoff, Caryn 

9:1 pJO 

Deep Dish TV — More Than Pie in the Sky 


Bloch, Dave 

7:2 p.38 

Inexpensive Sets and Graphics 

Giaeser John 

9:4 p.27-28 

Getting Together a Set— Part 2 

Glaeser, John 

9:3 p. 16- 19 

Getting Together a Set Part 1 

Davis, James A, 

i). 1 JJ.jL.Il/Z 1 

Tnninn Tn fr^ iVir 1 £ 1 rta^rl \: 
1 LI 1 1 1 [ 1 g IN IU 1 1 1 L t li.lL- 1 1 y 

Dickson, Barbara S, 

8:1 p.22 

Top of the Line: A Well Seasoned Series 

Labuda, Dennis 

8:1 p.19 

National AARP Enters the Cable Market 

y.) ! u i .} v e r . Morns 

S I n 16-1 7 

PiiKhr Priittr'im niiiin mi ^ I qrrm ^;~"ilr- 

1 Llt.MIL, 1 ILJt;l<lLLLLILIIJ^i 1JLI cl Lillet O^tUC 

rsiocn. uave 

7.H p.zD 

Making a Beamsplitter Box 


Karvvin, Tom 

9:4 p.24-25+ 

It's Time for States to Regulate Uses of Franchise fees 


McCartney, Robert G. 

8:4 p.22-23 

Survey Identifies Cable Utilization Trends in Higher Education 

8:3 p.14-17 

CTIC Releases Municipal Programming Study 


Kahin, Brian et al 

8:1 p.30-31 

Rethinking Public Access Part 3: Toward a National Access Service 

Kahin, Brian 

7:4 p.31-32 

Rethinking Public Access Part 2: Networking 

Pine, Evelyn 

9:1 p.28-29 

Exchanging Tapes Creates New Communities 



Williams, Don C. 

8:3 p.22-23 

Telecommunications Planning lor Local Governments 


Brcy, Ron 

8:4 p.28-29 

Instructional Television: Meeting the Needs of the Adult Learner 

Radspinncr, Diana Rraiden 

8:4 p. 18 

BrLiadband Icleeommunications in the Dallas School System 


Gilbertson, Peggy M. 

9:3 p.6-7 

Building a Volunteer Crew 

Landers, Anne Appert 

9:3 p.8-9 

An of Quarterback ing 

Margolies, Eliot 

8:4 p.26-2 / 

ideal Marriage: Access and DeAn/a College 


Donofrio, Michael 

8:1 p.8-9 

Working Channel: A Local Cable Network for the Jobless 


Gilbertson, Peggy M. 

9:3 p.6-7 

Building a Volunteer Crew 

Landers, Anne Appert 

9:3 p,8-9 

Art of Quarterback ing 


Dager, Donna 

8:4 p.12-15 

Providing Access to Children 

Grabiner, Liz 

8:4 p. 10- 11 

Empowering Disadvantaged Students 

Kirkland, Don 

8:1 p.18 

Teens Communicate With Peers on Arizona Cable System 

Community Television Review 21 

Volume 10, No. I 1987 


Continued from Page 15 

groups, or as samples of their work when 
applying for jobs. Arts Boards can use the 
tape library for performing arts or histori- 
cal documentation much the way they 
currently use slide libraries. 

Although using access facilities to pro- 
duce a commercially salable program is 
prohibited in most cities, access (and/or 
local origination) facilities can sometimes 
be rented at minimal cost to the producer. 
Check with the facility to see if you could 
charge admission or ask for donations at a 
showing to recover some costs. 

Sponsors or grants can be solicited to 
recoup costs. The value of equipment use 
and staff time for technical assistance and 
training can often be included as an in- 
kind or matching contribution in grant 


No access producer will argue that produc- 
ing a quality program doesn't require lots 
of time and effort. However, the expe- 
rience of our producers at MATA demon- 
strates the tremendous value and potential 
of access, both as an integral part of arts 
promotion and as an exciting expansion of 
the artist's experience in manipulating and 
applying a medium. Only in public access 
is found a partnership that so strongly 
encourages the artistic use of electronic 
technology and allows the public to share 
the adventure. 

Mary Shanahan and Dave Keyes are 
Training and Outreach Specialists for the 
Milwaukee Access Telecommunications 
A. uthoriiy (MA TA ). 

Photo;® 1987 Jim Brozek 

22 Community Television Review 

Volume 10, No. 1, 1987 

Community Access Television Fills a Need in Bowie 

By Bonnie L. Walker 

Copyright© 1987 Bonnie L. Walker 
Every so often a new technology comes 
along which is touted as the new panacea 
— the answer to the growing needs of 
educators for assistance in the classroom. 
In the past we've had high hopes for pro- 
grammed instruction, overhead projectors, 
videodisc players, computers, and video- 
text Just to name a few. The current "cure 
all" is the videotape and the videotape 
recorder. But this particular technology 
seems to be different in one interesting 
way. The horse, it appears, has come 
before the cart instead of the other way 

In Bowie, Maryland, teachers, parents, 
and students have become partners in an 
outstanding effort to produce video pro- 
gramming aired over the city's community 
access television channel. A central figure 
in this effort is the school's library media 
specialist, Richard Ashford. 

"Producing video programming for the 
community's access television channel 
was a natural outgrowth of being a story- 
teller," says Ashford, recent winner of 
Bowie Community Television's 1986 
award for Best Children's Dramatic pro- 
gramming in Bowie, Ashford's first expe- 
rience with producing programming for 
cable television occurred in 1982 in Bos- 
ton, where storytelling is very popular 
with adult audiences. Ashford authored, 
narrated and produced a documentary on 
storytelling for New England libraries and 
the Massachusetts state library. The pro- 
gram, designed to be used by the local 
cable systems, continues to be shown up to 
the present time. 

Two years ago when Richard Ashford 
came aboard at Kenilworth Elementary 
School in Bowie, he found dramatic arts 
and technology to be important instruc- 
tional tools. Computers, videodisc players, 
closed circuit television and video 
recorders had alt been part of the school 
program since principal John O'Donnell, 
known around the area as a "techie," 
arrived several years earlier. 

At Kenilw r orth Elementary School, stu- 
dents produce a five minute program using 
the closed circuit television system every 

morning. Teachers there have also partici- 
pated in pilot programs sponsored by the 
Department of Education's Office of 
Technology involving videodiscs and 
computer software. The school also has 
just purchased a Sony 8-millimeter 

In addition to his interest in state-of-the- 
art technology, O'Donnell also supports 
more traditional educational extracurricu- 
lar activities such as the dramatic arts. 
Kenilworth's musical productions have 
long been highlights of students' six years 
at the school. The classroom teachers par- 
ticipate in these productions as well. 

Most recently, students in the fourth 
grade participated in a reenactment of the 
famous March on Washington, including 
the delivery of Martin Luther King's his- 
toric speech. The entire event was 
recorded on tape so that students could 
first participate in the experience and later 
see themselves as participants. Ashford 
later transferred the program to a 3/4-inch 

videocassette so that it could be aired on 
the local cable access channel. 

Principal O'Donnell's concern, up until 
the past year, was the difficulty in sharing 
the performances with other children in 
the school and the parents. The multi- 
purpose room, in fact, could not house all 
the students at one time, much less their 
parents. At least three showings were 
required just for the student body. 

In 1985, a solution presented itself. 
Music teacher Patricia Ann Lewis heard 
that the local cable system had completed 
the Public Access Center in Bowie. She 
suggested that someone from the school 
take the free public access training course 
the company offers and also become a 
member of Bowie Community Television 
(BCTV). The advantage of joining the 
local nonprofit organization was that it 
offered equipment insurance, free tapes, 
and other benefits. 

Richard Ashford, the school's Library 
Media Specialist and known to be some- 
what of a "techie" himself, was selected. 

Community Television Review 23 

During the 1985-1986 school year, 
Ash ford and his colleague, Patricia Ann 
Lewis, produced videotapes of six different 
musical programs. At the beginning of the 
year, Mrs. Lewis selected plays for each 
grade at Kenilworth Elementary School. 
During the first part of the school year the 
children learned the songs and practiced 
their parts. This was in addition to their 
regular music curriculum. In the spring, 
the six videotapes were produced. 

While Mrs. Lewis directs the musical 
performance itself, Ashford performs a 
variety of roles in terms of the videotape 
production. First, during pre-production 
he attends one or two rehearsals and some- 
times offers suggestions to the students. 

"What I like to do is go and see the play 
in rehearsal at least once so 1 know what it 
looks like from beginning to end,' 1 Ashford 

During the production he wears the hats 
of camera operator, director, and VCR 
operator, with some needed assistance 
from students who watch the VCR. The 
3/4-inch camera/VCR system provided 
by the cable company uses only twenty- 

minute tapes. When the tape runs out, 
Ashford raises his hand, a pre-arranged 
signal. The play comes to a halt until he 
has time to change the tape and give the 
all-clear signal. 

Whenever possible, Ashford likes to get 
two complete tapes of the program so that 
he has plenty of footage for the post- 
production phase. Since only one camera 
is available, he has found the best possible 
location is at the back of the auditorium, 
on a table high enough so that he can shoot 
over the heads of the audience. 

"Taping a live performance is essen- 
tial, 1 ' says Ashford. "Otherwise, it's hard 
for the kids to really get into the play. Just 
performing for the camera isn't really 
enough to inspire them and retakes are 
hard to do well." 

Post-production consists of preparing 
the master tape from the raw footage and 
adding the titles and credits with the char- 
acter generator. Editing is the most time 
consuming and technically demanding 
task Ashford faces. Fortunately, while he 
was producing the storytelling documen- 

Volume 10, No. I 1987 

tary in Boston he had the opportunity to 
work with professionals and picked up a 
few editing techniques. 

Whenever possible, Ashford gets 
audience shots before the performance so 
that he can use that material for cutaways 
during the editing process. Brief glimpses 
of the audience inserted on the master tape 
lend authenticity for people viewing the 
program on the cable system. 

In addition to the technical challenge, 
editing the one hour program requires 
somewhere between ten and fifteen hours. 
Since the access studio in Bowie is not 
open on weekends, Ashford must often 
compete with other producers for editing 
time after school during the late afternoons 
and evenings. 

Once finished, the programs are aired 
several times on the community access 
channel. Although the policy is to air every 
new program at least twice, programs are 
often cablecast dozens of times. At least 

Continued on Page 34 


The Character Generator software 
you have waited for . . . 
High resolution, multiple fonts, 
4096 colors, animated page 
transitions . . . 

at a Price you can afford. 

See your AMIGA or Video Dealer or Contact 

PVS Publishing ^^^^ (503) 636-8677 

3800 Botticelli, Suite 40, Lake Oswego, OR 97035 

Pro Video CGI is a trademark of JDK Images. AMIGA is a registered Trademark of Commodore - AMIGA, Inc. 

24 Community Television Review 

Volume 10, No. I 1987 

TheVideot Goes to NAB 

By Dave Bloch 

What has 78,000 sore feet, 1 60 hospital- 
ity suites, 635 exhibits, and a 211-page 
Program to try and sort it all out with? 


The National Association of Broadcasters' 
Annual Convention and International 
Exposition is vast. It is also something of 
an unknown frontier for we local pro- 
gramming folk, many of whom were 
drawn into access in response to the mis- 
erable fare usually seen on broadcast tele- 
vision. Even this reknowned radio and 
television equipment show never seemed 
to offer much to us — who's got half a 

million bucks lying around for that new 
Grass Valley switcher, anyway? 

Still, it is the duty of the Community 
Videot to keep a sharp eye on what those 
people are doing. Disguised as one of them 
in (what else?) a charcoal-gray pinstripe 
suit, the intrepid Videot explored the jun- 
gle of the Dallas Convention Center. 


You've gotta go once. NAB is now so 
dominant among equipment shows, that 
manufacturers are bringing lots of 
industrial-grade equipment along to 
exhibit. Panasonic, for example, dedicated 

a third of their space to their industrial 
equipment division. (Imagine actually see- 
ing VMS equipment at NAB!) Technolog- 
ical advances have simply made it possible 
to produce excellent equipment for a lot 
less money than it used to. For all but the 
smallest equipment budget (and yes, I 
know there are many of you out there), 
there is affordable and appropriate equip- 
ment to be seen at NAB. 

SONY, as always since 1984, had the 
largest exhibit of every kind of production 
equipment you can think of. In fact, they 
published a 40-page, full-color brochure 
just to direct you around their "booth!" Of 
special interest to us is the DXC-3000 

The exhibit floor at NAB. 

Community Television Review 25 

Volume 10, No. I 1987 

The entrance to Sony's massive display area. 

camera. This is a 3-chip camera, making it 
small, light, and easy on batteries. Most 
important to access users, it cannot be 
damaged by accidently pointing it at the 
sun. The pictures from it are beautiful, and 
the tubeless design should keep them that 
way for a long time. At around $7,000, 
larger access centers might select this 
camera for their advanced users. 

By the way, Sony also showed their new 
7000- and 9000-series 3/4-inch VCR's, 
but don't expect to see these at vendors 
until late fall. 


Several companies showed 
microcomputer-based character generator 
systems. Ubiquitous COMPREHENSIVE 
VIDEO SUPPLY is pushing their PC-2, a 
plug-in board for IBM PC compatibles. 
The PC-2 provides full genlock and self- 
keying capabilities (in other words, you 
can feed your video into it and type words 
over the picture). Comprehensive dealers 
list the PC-2, with its software, for $2,995. 

from the far-flung reaches of Saskatoon, 
Saskatchewan, showed two really low- 
cost devices. Their Spectraview II is a 
$500 plug-in cartridge for many Atari 
computers that generates medium- 
resolution text and full-screen graphics. It 
could be an excellent option for small 
access centers and cable systems who want 
to put a little more pizazz in their bulletin 
board. About $4,000 will buy you their 
Amiga-based package, with full genlock 
and self-keying capabilities and beautiful, 
high-resolution graphics. Their software 
also provides features like roll, crawl, 
push-on, and an amazingly smooth fade 
and dissolve. 

(By the way, another Amiga-based sys- 
tem is available from JDK IMAGES. 
They were not at NAB, but look for them 
at the 1987 NFLCP Convention in 

Another Canadian firm, NORPAK 
CORPORATION, exhibited several PC- 
compatible-based devices. Different mod- 
els generate graphics, genlock and key, or 
just convert computer RGB outputs to 
composite video. (This last item is a half- 
size card for $424. The genlockable card is 
$724.) If you're looking into anything that 
has to do with interfacing computers with 
incoming data and outgoing video, you 
might give them a call. 

with their CG-2000, a modified PC clone 
with full genlock and self-keying capabil- 

ity, 8 fonts, 512 colors and lots of display 
features. Although usable as a production 
machine, it is designed primarily as a flexi- 
ble bulletin board generator. 

Real character generators for the under- 
$10,000 crowd were all over, with offer- 
ings from Laird Telemedia, Quanta, 3M 
and Chyron. Check out ICM VIDEO, 
though, for a really nice, simple machine at 
$2,195 ($2,395 with a highly- 
recommended 'Enhanced Software 4 
option). The CG-7000 keeps keystrokes 
simple by performing many of its functions 
with knobs. To change color, turn a knob. 
To change roll speed, turn a knob, to fade 
in the CG (it's self-keying) turn a knob. 
Ten additional font cartridges are availa- 
ble at $100 to $150 each. 


Ever hear of the TV News Journal! I 
picked up this desktop-published weekly 
off the pressroom freebie table. It's a trade 
weekly aimed at people in broadcast TV 
news, but with a critical, irreverent style — 
a "conscience" for the TV ne ws business. If 
you've ended up in access but left your 
heart in broadcasting, or if you enjoy keep- 

Continued on Page 27 

A ustin 's A Ian Bushong pauses by a roll of 
1 5 -inch- wide videotape. 

for Authors 

Community Television Review is happy to receive articles, 

both solicited and unsolicited, from our readers. To assist both potential authors and the CTR 
staff, here is a list of submission guidelines to follow: 

1) Each issue is dedicated to a particular theme, with several articles related to that theme. Here 
are the themes and approximate deadlines and publication dates for Volume 10: 

Voices of Diversity (May 15, June 15) 

Management and Fundraising (July 30; September 15) 

High-Tech Access (October 30; December 15) 

2) Most articles in CTR are 1,000 to 2,000 words long. 

3) Good quality photographs, tables and graphics will greatly improve the appearance and 
clarity of your article. Provide caption information and photographer or artist's credit whe- 
never possible. If you would like these materials returned to you, be sure to write your name 
and address on the back of each item. 

4) Include a one-sentence biography of the author at the end of the article. Also, indicate 
whether we may print your address and phone number so that readers may contact you. 

5) Articles may be sent as hard copy, but submission on floppy disk or via electronic mail is 
strongly encouraged: 

— Hard copy manuscripts should be typed, double spaced. Corrections may be written in, 
provided they are clear and unambiguous. Send manuscripts to the address below. 

— Articles recorded on 5-1/4" floppy disks will be accepted in IBM 360KB double-sided 
format, Osborne double-density format, or DEC Rainbow format. Our equipment can not 
read Apple-format disks. Please leave out all print control commands (underline, italicize, page 
end, etc.). Send floppy disks to the address below. 

—Articles may also be sent via an MCI Mail Instant Letter addressed to David C. Bloch, ID 
number 124-9419. Again, please leave out all print control commands. 

6) The address for submissions to CTR is: 

Community Television Review 

1101 Santa Barbara Ct. 

P.O. Box 161617 (U.S. Mail Only) 

Sacramento, C A 95816 For information call: (916) 456-0757 

Community Television Review 27 

Videot. . . 

Continued from Page 25 

ing up on what's really happening at CBS 
News, you might try a year of TVNJ for 


Many medium and large local program- 
ming operations have been looking at 
automated playback systems, in an effort 
to cut staffing costs. CHANNELMATIC 
exhibited their popular Broadcaster I, 
which you can read about on the inside 
front cover of this issue of CTR, A new 
entry in this field, ALAMAR ELEC- 
TRONICS, demonstrated the Auto-Cart. 
This system controls several VCR's and a 
routing switcher with easy on-screen pro- 
gramming and a printout of completed 
programs. Alamar also displayed a large 
four-channel system to be installed at the 
access center in Montgomery County, 


Copier salesmen have known for years 
trucks, the kind that let you slide really 
heavy equipment into and out of station 
wagons and vans. Roll the cart up to the 
car, pull a lever and push — Voila! The legs 
tilt up out of the way, and the whole thing 
slides straight in without you ever having 
to take the weight! BUY ONE if you often 
schlep big VCR's or monitors around 
(some models also make it very easy to 
pull equipment up stairs). Ferno also 
makes small carts (similar to WHEELIT) 
that are great for rolling around portapaks, 
small monitors and AV equipment. 


Ever seen a monopodl It's just a telescop- 
ing stick with a camera mount on top. 
GITZO probably makes more than any- 
body, and backs them with a "full warranty 
for life — plus reincarnations." They cost 
from $130 to $180, weigh around two 
pounds, and are just the ticket for that 
shoot that just isn't worth carrying a tripod 
but would turn out a lot better if you did. A 
monopod will take the weight off your 
shoulder and 90 percent of the shake out of 
the video. Gitzo's deluxe models 565 and 

Volume 10, No. 1, 1987 

Speranza A vram gets a demo of 3M f s new character generator. 

The clear status report from Alamar s "Auto-Cart" playback system 

Continued on Page 28 

28 Community Television Review 

Volume 10, No, I 1987 



Videot. . . 

Continued from Page 27 

567 include a shoulder support that lets 
you brace the monopod against your 
body, making it even steadier. 


Ever wonder where TV and radio stations 
get those jazzy little boxes they stick on 
their microphones? Wish you could get 
some for yours? 

You can buy them from the NAB, Call 
them for a catalog and order form. Prices 
are based on quantity and number of 
colors but, for example, 10 units with a 
1 -color design printed on all four sides 
would cost $50.00 ($35 setup charge and 
$1.50 per unit). That's not bad, consider- 
ing the value of having your logo seen on 
the nightly news along with all those other 

NAB will also sell you every other kind 
of promotional junk imaginable — clocks, 
patches, jackets, mugs, hats, radios (that 
only tune to one station!), and lapel pins. 


NAB will be held in Las Vegas next year, 
which is a very inexpensive place to fly to 
and stay in because the casinos subsidize 
everything just to get you there. The 
Videot will be there again. 


Comprehensive Video Supply Corp. 
148 Veterans Drive 
Northvale, NJ 07647 
(201) 767-7990 

Compu-Cable Systems 
#6-301 45th St. W. 
Saskatoon, Saskatchewan 
Canada S7L 5Z9 
(306) 934-6884 

JDK Images 
3800 Botticelli, Suite 40 
Lake Oswego, OR 97035 
(503) 636-8677 

Norpak Corp. 
10 Hearst Way 
Kanata, Ontario 
Canada K2L 2P4 
(613) 592-4164 

Video Data Systems 
30 Oser Avenue 
Hauppage, NY 11788-2001 
(516) 231-4400 

Laird Telemedia, Inc. 

2424 S. 2570 W. 

Salt Lake City, UT 84119 


Quanta Corporation 
2440 S. Progress Drive 
Salt Lake City, UT 84119 
(801) 974-0992 

3M Broadcasting and 
Related Products Division 
220 Woodsong Drive 
Fayetteville, GA 30214 
(800) 241-3669 
(800) 241-3670 (in GA) 

Chyron Telesystems 
265 Spagnoli Rd. 
Melville, NY 11747 
(516) 249-3018 

ICM Video 
701 W. Sheridan A v. 
Oklahoma City, OK 73126 
(405) 232-5808 

TV News Journal 
P.O. Box 550508 
Atlanta, GA 30355 
(404) 355-1973 

Ferno Salesmaker 
70 Weil Way 

Wilmington, OH 45177-9371 
(513) 382-1451 

Wheeht, Inc. 
P.O. Box 7350 
Toledo, OH 43615 
(419) 531-4900 


Karl Heitz, Inc. 
P.O. Box 427 
Woodside, NY 11377 

NAB Services Promotional Catalog 
(800) 368-5644 





Systems are 





and portable* 

But, above 

all, they're 

built and 


to be 




lights — 
could be a 
shot in 
the dark. 

2 years; 
5 years. 

Mfg., Inc. 
475 Tenth Ave. 
New York, N.Y. 
(212) 947-0950 

Lowel West 
3407 W.Olive 
Burbank, CA. 

Community Television Review 29 



Learning Channel series times: 
Fridays 8:30 PM 
Saturdays 10:30 PM 
(following) Mondays 11:30 AM 

1986 Hometown USA Video Festival 
Set for Bicycle Tour 


The Hometown USA Bicycle Tour presents the best 
local programs that cable television has to offer, selected 
from 1 ,200 videotapes entered in the 1 986 Hometown 
USA Video Festival. 

These tapes were produced by public access volun- 
teers, production personnel of local cable companies, and 
staffs of local governments, organizations and institu- 
tions. There were nearly sixty-two award winners. The 
bicycle tour includes thirteen of these winning programs 
in three one-hour videotapes. 

This showcase of innovative, thought-provoking and 
entertaining local programming is available for non- 
commercial presentation at your community event or on 
your cable system. 

For information on how you or your organization can 
rent the Hometown USA Bicycle four, mail the coupon 
below or call Julie Omelchuck at (202) 544-7272. 

Here arc the programs included in this year's Home- 
town USA Bicycle Tour: 

Both Sides of the Slreet 1 5 minutes from the Documentary/ Public 
A wareness category, intimately portrays love, life and hardship in the 
Tenderloin District of San Francisco. Produced by Barbara Neal, who 
worked as a showgirl for sixteen years in the Tenderloin arid left to 
pursue a Masters Degree in film. 

Black/ White Jokes 3 minutes from the Video Art category, is an 
adventure in short video art by producer David Kerr. 

In t he Dust of Dreams 25 minutes from the Documentary Profile 
category. The Mennonites of West Texas tell their story of struggle and 
survival. Produced and directed by David Harricnger, Jr. 

Shout: 2 minutes from the Public Service Announcement category, 
is a masterpiece of animation by Lisa Craft. The PSA addresses 
:'.'.;dear disarmament. 

Too Darn Hot 3 minutes from the Entertainment category, by 
volunteer producer Scott Hailer, is an incredible display of one- 
camera shooting and editing. 

Making Space. . .Burning Waste 22 minutes from the Municipal 
Programming category, tackles one of the issues that city government 
officials face and the public rarely understands. Produced by Sandra 
Holden and Sarin Kumar for the City of Long Beach, California. 

Choice and Change 4 minutes from the Religious Programming 
category, is a regular series produced for national distribution by the 
United Church of Christ. Segments of the series produced by William 
Winslow are shown. 

Peace Spelling Bee is a 30-second PSA about peace, produced by 
l he United Church of Chrisi. 

The Joe Show 5 minutes from the Programming for Youth cate- 
gory, is a children's series produced in Austin, Texas by volunteer 
producer Bill Crawford. Highlights of the series are shown. 

Letta 15 minutes from the Documentary Profile category, was 
produced hv the Friucafional Video Center as a enllahnrah vc. ef'l'on 
between teenagers in New York City and rural Appalachia. 

Alone Together 26 minutes from the Informational Programming 
category. Originally produced for a conference about single parent- 
hood by Gae Rusk for Human Services Television in Honolulu- 
Features single parents and their children playing all the key roles. 

Video Speelrum 8 minutes from the Innovative Programming 
category, is a unique municipal access programming innovation. Con- 
ceived by the Channel L Working Group, it brought rarely -seen video 
works to the public a nd gave exposure and recognition to independent 

Rattlesnakes and Reunions 15 minutes from the Documentary 
Event category, focuses on an event unique to a community in rural 
Georgia. Produced by Sue Marsh and Farley Barge- 
Hometown USA is sponsored in part by Fuji Photo Film USA. 

NFLCP Bulletin 
Board On-Line 

The NFLCP has operated a compu- 
ter bulletin board service (BBS) since 
April 1985. The purposes of the system 
are to facilitate the rapid exchange of 
information between the NFLCP 
Board, members and staff; to discuss 
issues facing access facilitators and 
users, and to provide immediate access 
to information about current and his- 
torical NFLCP and cable industry 
activities. Anyone with a personal 
computer and modem can call the BBS, 
which is located in Champaign, Illinois 
and operated by NFLCP member Greg 

Although a valuable resource, the 
future of the BBS project is in doubt, 
because it is not being used enough by 
NFLCP members to justify the expense 
of operating the system. It costs about 
$1,100 per year to maintain the com- 
puter, and the power and phone lines 
associated with it, while it currently 
receives just over one call per day from 
members. A decision will be made later 
this year whether to continue offering 
the service. That decision will be based 
largely on whether usage has increased 
to a cost-effective level. 

NFLCP would like to gather feed- 
back from CTR readers about the BBS 
service. If you use it, what have you 
found to be valuable about it? What 
new features would you like to have 
added? If you do not use the BBS, why 
not? Do you have access to a computer 
and modem? Would you call the ser- 
vice if you did? Are the equipment or 
telephone costs too high, the process 
too technically difficult, or the informa- 
tion not valuable enough to you? We 
need to identify how many potential 
users there are, what problem areas 
exist, and whether they can be cor- 
rected within the limitations of the 
budget and technology available. 

If you have a computer and modem, 
we encourage you to use the BBS itself 
to respond with your comments or 
questions. Call (217) 359-9118. Set 
your modem at 300 or 1200 baud, 8 
bits, 1 stop bit, no parity. Or, call or 
write to the SysOp (that's computerese 
for "System Operator"): 
Greg Smith 
NFLCP Bulletin Board 
917 W. Columbia Av. 
Champaign, IL 61821 
(217) 352-9655 (voice) 

30 Community Television Review 
Volume 10, No. /, 1987 

Pikas or Dinosaurs?: The Story of a Museum 
Television Show 

Elizabeth Gilmore and David Bay singer on the set of Horizon, 

By Elizabeth Gilmore 

"Horizon" was born one morning 
somewhere between Denver, Colorado 
and the San Juan Pueblo in New Mexico. 
David Baysinger, self-taught video- 
grapher, electronic impresario, Manager 
of the Audio-Video Department at the 
Denver Museum of Natural History, and I 
were heading down for a quick one-day 
job of videotaping and interviewing two 
San Juan Pueblo weavers in their own 


Our two-person department had become 
so busy, it was a standing joke that the only 
time we had for staff meetings was when 
we got in the car to go on assignment. 
Here, with no phone interruptions, we 
finally had time to find out what projects 
we each had been working on separately, 
and just what the current status of the 
department was in relation to the rest of 
the Museum. 

The department had been started by 
David, a long-time employee of the 
Denver Museum, about 3 years before, in 
order to take the business of communicat- 
ing with people about the natural world 
into the realm of electronics. I, steeped in 
PBS broadcasts such as "The Ascent of 
Man" and "Cosmos," with 3 years of 
experience in television during my high 
school and college years, had begun as a 
volunteer in the Department some two 
years before, I had just been put on as a full 
time employee. 

Between the two of us, we had a pretty 
good track record of getting information 
about the Denver Museum on local televi- 
sion. We had created short pieces for local 
magazine format programs, several PSA's 
and commercials, and many educational 
pieces designed to complement in-house 

During that two years, many changes 
had been taking place in Denver televi- 
sion. Magazine format shows had almost 
disappeared, and cable television was just 
beginning to open its doors to community 
producers. David and I had already gone 

through the one-day course offered for 
experienced producers by Denver's Mile 
Hi Cablevision and become card-carrying 
community producers. But, aside from a 
couple of programs I had provided for 
cable, we had not made much use of our 
new licenses. 

I was only beginning to hit my stride in 
the department, and I felt a lot of pressure. 
It seemed like I had far too many things to 
do. We both act not only as videographers, 
writers, researchers, editors, and grant 
proposal writers, (David also has a trained 
narrator's voice, so he does almost all of 
our narration) but as our own secretarial 
and office maintenance staff. (We try to 
out-wait each other when it comes time to 
empty our overflowing trash can.) 


Riding along Interstate 25 south, David 

turned to me and asked, "How would you 
like to produce a monthly half-hour for 
cable television?" My first thought was, 
"You're kidding!" But, David kept talking. 
He has a way of making it all sound like so 
much fun! I am a sucker for that stuff. 
After a few more miles of his soliloquy on 
how wonderful it all would be, 1 found 
myself saying, "O.K., I'll try it." Of course, 
it went without saying that I had to wedge 
it in between all my other work, none of 
which could left undone. But. . . hey. . . 
we were going to have such a good time! 

Four months, many hours of overtime 
and much negotiation later, I found myself 
not only producing "Horizon," but co- 
hosting in front of the camera with David 
on my left. We had decided that, in order 
to keep the program up to our usual pro- 
duction standards, we would not do a 
straight interview program, but would 

Community Television Review 31 

take people into the field with us to learn 
about natural history. 

A full half-hour of edited time every 
month was too much to undertake with all 
our other work, so we decided on the tried 
and true magazine format; of which, as I 
mentioned, there were now precious few 
in Denver. We could tie together some of 
our already produced short segments from 
the studio, and new material edited espe- 
cially for "Horizon" would not have to be 
so long and intricate. 

We were using the studio facilities at the 
newly opened Denver Public Library 
Cable Channel They have continued to 
provide help, and a director. Diane 
Murphy, a bright "techie" cleverly hired 
by the Library Channel to run their opera- 
tion, handles all instructions to camera 
operators, and the switching. Feeding "B" 
rolls into the system, character generation, 
and camera work is all handled by volun- 
teers Molly Archibold, Lee Mestas and 
Terry Trieu, all of whom have gone 
through the Mile Hi program. We are 

lucky to have professional photographer 
Gary Hall, to do our lighting. 

The music for the pre-taped open and 
close, as well as for many of the stories, is 
written by our own composer at the 
Museum, Bernie Shwayder. 


The stories seem to interest people, and 
with time, David and I have gotten more 
comfortable in front of the camera, as well 
as behind it. Audiences seem to love learn- 
ing if it is also entertaining. We notified 
some other cable channels up and down 
the Rocky Mountain Front Range, and 
they eagerly sent us tapes for copies of 
"Horizon" to run on their access channels. 
I wound up spending at least two nights 
every month making copies for other 

After about nine "Horizons" were in the 
can and circulating, Neil Dominus over at 
Mile Hi called one day to tell me the 
Hometown USA Video Festival applica- 
tions were due. He wondered if maybe we 
would like to submit "Horizon" as a ser- 

Volume 10, No. /, 1987 

ies? I had said, "Sure, why not." I got the 
applications filled out, put together a com- 
pilation of some of the stories we had 
narrowcast with an open and close from 
the studio, sent it off, and forgot about it. 

I also forgot to make a copy of what I 
sent in, so, two months later when Neil 
called to tell us we had won 1st Place for 
the best locally produced magazine format 
program on cable in the United States, I 
couldn't remember which segments I had 
sent to the judges. I was delighted to win, 
and we went to San Francisco to receive 
the award. To this day I can't remember 
for sure which segments 1 sent. 

Let me see, was it the story about the 
Pikas, ( they re related to rabbits you know, 
not rodents) or maybe the Navajo Weavers, 
...or maybe it was that story on what 
happens to dinosaur bones once they are 
removed from the earth. J can't remember. 

Elizabeth Gilmore is the Producer of 
"Horizon "for the Denver Museum of Nat- 
ural History. 

Award-Winning PBS 
Television Series Now 
Available to Cable! 

$25.00 per year for each series 
Tapes for dubbing available for $6,50 per hour 

CONGRESS: WE THE PEOPLE - (26 half hours) Step into 
the world of Congress with host Edwin Newman. Explore 
how Congress works and is influenced by the President, the 
courts, the media. 


hours) Celebrate the 200th anniversary of the U.S. Constitu- 
tion. Test your own beliefs and biases as leading national 
figures debate the meaning of the Constitution. 

THE WRITE COURSE - (30 half-hour programs) Sharpen 
your writing skills. Adopt strategies for pre writing, drafting, 
revising and editing so you'll write it right at home or at 
work . 


parts, 26 half-hour programs each) - Learn the basic ideas of 
physics and the history of how they were discovered with 
sophisticated computer graphics, special effects and 

ECONOMICS U$A - (28 half-hour programs) Make clear 
connections between the dramatic news events that touch our 
lives and the study of economics. Absorbing documentary 
programs examine the stories that made economic headlines. 


Annenberg/CPB Collection, 1111 16th St, NW, Washington, 
D.C. 20036, (202) 955-5251. 

The Annenberg/CPB Collection 

32 Community Television Review 

Volume 10, No. I 1987 

10th National Convention • Chicago Hilton & Towers • Chicago, IL 


• Twelve pre-conference workshops 
% Three major keynote events 

• Constituency-based, issue-oriented workshops 

• An exciting exhibit program 

Plan now to join us in Chicago at the industry's most complete, 
informative, and up-to-date program, 

Registration Information 

You should register in advance by mail, 
using the attached form. Photocopy the 
form for multiple registrations. The reg- 
istration deadline is FRIDAY, JUNE 26. 
Registrations postmarked after FRIDAY, 
JUNE 26 will be assessed a $10.00 (ate 
fee. Registrations postmarked after 
JUNE 26 will be held at the ON-SITE 
registering before JUNE 26 will be con- 
firmed in writing. Registration fees will 
be refunded if cancellation is received 
in writing prior to close of business, 


The Chicago Hilton and Towers will be 
the headquarters for the 1987 NFLCP 
National Convention. Overlooking the 
magnificense of Lake Michigan and 
Grant Park, the Chicago Hilton and 
Towers is in the midst of all Chicago 
has to offer. The Hilton is only a few 
blocks from the Art Institute and the 
Adler Planetarium; also Shedd Aqua- 
rium and the Field Museum of Natural 
History are as close as the doorstep. 

The Chicago Hilton and Towers offers 
rooms to NFLCP convention partici- 
pants at the special convention rate of 
$63.00 per night, plus 10.3% tax. All 
room reservations must be made 
directly with the hotel 

Rooms will be held until 4:00 p.m. 
unless guaranteed by a persona! check, 

TUESDAY, JUNE 30, 1987. Cancella- 
tions after JUNE 30 WILL NOT be 
refunded at any time. A "REGISTRA- 
TION WITH MEALS" means that one 
ticket to each special event meal (1 
Banquet, 2 Luncheons, 1 Party at His- 
toric Dearborn Street Station) is 
included in your registration, if you reg- 
ister "WITH MEALS," order tickets for 
the special event meals only if you 
desire more than one ticket per event. 

To register, complete the attached reg- 
istration form, enclose payment, and 
mail prior to JUNE 26, 1 987 to: NFLCP 
TER, c/o 3 R Group, 431 S. Dearborn 

money order, or valid major credit 
card. Check-in time is 3:00 p.m. Check 
out time is 1 1 :00 a.m. 
We urge you to make your reservation 
by June 16, 1987. 


Special Fares on United Airlines 

Travel from July 10, 1987 thru July 22, 
1987, inclusive. 

In arrangement with the National Fed- 
eration of Local Cable Programmers, 
United offers you the services of its toll 
free convention reservations desk along 
with a complement of discounts: 

• 5% off of any fare you qualify for (based 
on normal restrictions), including United's 

For Further Information 

Requests for information about the 
convention and convention-related 
activities should be directed to: NFLCP 
Convention Registration Center, c/o 3 
R Group, 431 S. Dearborn St., Suite 
1604, Chicago, III., 60605, (312) 
663-1 111. 

St., Suite 1604, Chicago, III., 60605, 
(312) 663-1111. 


There are a limited number of scholar- 
ships available to cover registration fees 
for qualified individuals. These scholar- 
ships do not include any meal func- 
tions. If you would like to apply for a 
scholarship, please send a letter or 
request which includes the criteria to 
justify your need to: Sue Buske, Execu- 
tive Director, NFLCP, 906 Pennsylvania 
Avenue, S.E., Washington, DC 20003. 


OR. . . for those not qualifying for the 
above discount. . . 

• A minimum of 40% off of normal coach 
fares with no minimum stay or advance 
purchase requirements. 

To make reservations follow these easy 

1. Call United toll free at (800) 521-4041, 
seven (7) days a week, 8:00 a.m. to 1 1 :00 
p.m. Eastern time. 

2. Give the NFLCP account number: 

3. United will arrange to mail tickets to your 
home or office, or you may purchase them 
from your local travel agent. If you purchase 
from your local travel agent, be sure you or 
the agent call United's Convention Desk to 
make your reservations. The special NFLCP 
fare is only available through United's 
Convention Desk. 

Excluding Mexico, Canada, the Bahamas, and the Orient. 

Community Television Review 33 

Volume 10, No, % 1987 


Please print or type this form. 



Name to appear on Badge; 





Read This First! 

1. No registrations will be taken by telephone. 

2. Complete this registration form in full (you may pho- 
tocopy for multiple registrations) and enclose FULL 
payment. Make Registration Fee checks payable to: 

1987! Registrations postmarked AFTER June 26 will 
NOT be processed in advance . . . these late registra- 
tions will be held at the ON-SITE REGISTRATION 
DESK and will be assessed a LATE SURCHARGE of 

LINE is June 30, 1987. Written cancellation notifica- 
tions postmarked by June 30 will permit a FULL 
REFUND of all paid registration fees. NO REFUNDS 
of paid registration fees will be made after |UNE 30. 


CENTER, c /o 3 R Group, 431 5. Dearborn St., Suite — — ammmmmmmmm ^^^ mm ^^ 
1604, Chicago, III 60605, (312) 663- i 1 1 1 

1. REGISTRATION SELECTION: Members Nonmem bers 

□ Full conference PLUS special event meals and party . * . $1 85.00 $210.00 

□ Full conference NO special event meals or party $120.00 ...... $145,00 

□ Thursday ONLY conference % 80.00 % 95.00 

□ Friday ONLY conference $ 80.00 $ 95.00 

□ Saturday ONLY conference ...,....$ 80.00 ,,.,..$ 95.00 







-J - 

□ Please indicate if you would like to receive information about child care during the 
Q I require a restricted diet. Please indicate limitations and/or requirements: . 




2, Separate Special Event Ticket Purchases: 

Awards Banquet (Thursday, July 16) . . 

Luncheon (Friday, July 1 7) 

Luncheon (Saturday, July 1 8} 

Party at Historic Dearborn Street Station 

□ Special Diet 



X Price Amount 

X $25.00 $ 

X $20.00 $ 

X $20.00 $_ 

X $20.00 $ 


Preconference Workshops & Seminars (Thursday ONLY — July 1 6, 1 987 — 9:00 AM -1 2:00 Noon); 
Cost = $30.00 each — Pick One Only! 

1. □ Dealing With Controversial Programming. 

2. □ Transitioning From One Form of Access Management to 


3. □ Organizing and Managing a Local Video Festival. 

4. □ Raising Funds for Access Centers. 

5. □ Computer Software for Access Centers (Participants are 

encouraged to bring diskettes in order to receive free copies 
of the software to be discussed). 

6. □ Video Aesthetics of Shooting and Directing. 

7. □ The Insurance Dilema: Identifing and Securing Insurance for 

the Local Programming Operation. 

8. □ Understanding the Cable Regulators Role When Dealing 

With Local Cable Programming. (The audience for this 
seminar is the person (s) who relates to the local cable 

regulator I i.e. Access managers — Board of Directors of 
Access Corp. — Local Origination Managers — Local 
Programming Producers], This workshop is being presented 
by the National Association of Telecommunications Officers 
and Advisors.! 

9. □ Access Management 101: A Primer on Managing an Access 
Center and Channels. 

10. □ Techniques for Improving the Audio in Your Video 


11. □ The Video Artist and Access Programming: An Exploration of 

the Opportunities for Mutual Benefit. 

12. □ Lighting Techinques for Field Production. 

13. □ Critical Management and Pol icy Issues for Access Managers: 

An Advanced Seminar. 


CODE tt 


4. Payment and Processing 

NOTE: A. Full payment must be made prior to your receiving your Convention Registration Materials at the Registration 
Desk at the Convention. 

NOTE: B. Make all checks payable to: NFLCP ANNUAL CONFERENCE. NFLCP TAX I.D. 31-09631 74 


PO tt: PC: OC: 


DEPT tt: 

_ JC: 

34 Community Television Review 

Volume tO, No. l 7 1987 


Continued from Page 7 

produced essentially the same program for 
two years with no budget, they could not 
understand why so much money was 
being spent for set construction and union 
electricians while no money was going to 
the artists that were covered. 

And, of course, it was no longer "their 
baby." The station staff viewed themselves 
as overnight art experts. The studio seg- 
ment was scripted by the station producer, 
who captured none of the excitement we 
thought the material deserved. But the 
time was short. The program had to get on 
the air. It was either condescend to the 
station's wishes or bite the hand that fed 
them. The group condescended, but would 
rather have bitten. 

Production of the second program was 
worse. The station producers, now having 
a proprietary interest, did their own seg- 
ments without the original group's 
encouragement or support. KERA's only 
other local production was a news pro- 
gram, and the production staff saw "Arts 
Eye" as a release for their own suppressed 
creativity. It became obvious that the 
group was being used for its credibility in 
the arts community and with the art critics 
as a means of defusing long-standing criti- 
cism that KERA did not provide any 
community arts programming. 

After the second "Arts Eye" program 
on public television, the original producers 
did not even ask KERA if there was to be 
another edition of the program — they just 
didn't care. 


But they did care about the arts in Dallas, 
and about one another. The great thing 
about "Arts Eye" as a group was that it got 
the job done. Every month during those 
first two years, the cable programs were 
on. "We didn't sit around and conceptual- 
ize, or blue sky, or ask 'what if.' We just 
went and did it." 

The group went back to its roots—back 
to cable, and no bucks, and little viewer- 
ship. But they produced. The vehicle this 
time was "Art Stuff," a cooperative pro- 
duction of the Dallas Public Library and 
Dallas Community Access (the non-profit 
organization designated by the City to 
facilitate public access after Warner Amex 
sold the franchise). 

Three hours each Monday evening are 
devoted to arts programming, most of it 

live from the Library studio. Since June 
1985, "Art Stuff has cablecast over two 
hundred hours of theatre, music, artist 
interviews, video art and dance. The 
emphasis is on vitality, immediacy and 
involvement, rather than on a slick fin- 
ished product. There is a lot more input 
this time around. Some "Arts Eye" pro- 
ducers have returned, but lots of new faces 
have appeared. Regular time slots are 
filled by theatre groups, dance and compu- 
ter art critics, and artist interviews. John 
Leveranz is still a guiding force, joined this 
time by his wife Deborah, who is arts 
coordinator for Dallas Community 
Access. But many of the original "Arts 
Eye" producers are also on hand to lend 
either on-camera or technical support. 

The important thing is that the arts in 
Dallas still have a vehicle in which to 
express themselves before an audience. 

Bowie... Continued from Page 23 

one of Ashford's six programs can be seen 
nearly every week on the channel. 

"So often," Ashford points out, "educa- 
tional innovators get exciting ideas about 
some new technology and try to sell it to 
teachers, parents, students, administrators 
without much success. In this situation, the 
need came first. Then we became aware of 
a resource here in the community that 
could meet that need " 

Perhaps the key to the success of the 

And there is still a vehicle available to 
newcomers to video to see if the medium is 
for them and, if so, to develop and refine 
their skills. Tapes are archived in the Fine 
Arts Division of the Dallas Public Library 
and will one day be available to the 
general public and to historians seeking 
primary source materials on the arts in 

The friendships of the "Arts Eye" and 
"Art Stuff producers, forged in mutual 
deadlines and equipment failures, have led 
to a more vital art scene in Dallas; an art 
scene cross-fertilized by individuals who 
make it a point to stay abreast of and 
chronicle current activity in a rapidly- 
changing city. 

John Held, Jr. is the librarian in the Fine 
A rts Division of the Dallas Public Library. 

program at Keniiworth Elementary 
School is that the technology was used to 
meet an existing need, not forced upon the 
school or the community. Whatever the 
reason, everyone involved is already plan- 
ning programs for the current year and 
eagerly anticipating the results. 

Bonnie Walker is president of a Mary- 
land consulting firm which specializes in 
developing educational media. 



□ Copyright and You S4.50 

□ Cable Policy $23.00 

□ 1986 Hometown USA Bicycle Tour $126.00 

□ Hometown USA Sampler $60.00/$ i 00.00 

□ Municipal Programming Showcase $40.00/$ 100.00 

□ After The Act $40.00/$ 100.00 

Enclosed find $ which includes the cost 

of the books or videotapes and handling charge. 



CITY . , 



National Federation of Local Cable Programmers 
906 Pennsylvania Avenue, S.E. 
Washington, D.C. 20003 
(202) 544-7272 

Copyright and You — A primer on copyright and fair 
use issues for users of local cable channels. This 1 6- 
page handbook, which is the only one of its kind, will 
present you witht he practical considerations for using 
excerpts of existing copyrighted works. 
Prices: $4.50 (1-10 copies) 

$4.00 (1 1-50 copies) 

S3. 50 (over 50 copies) 

Cable Policy Packet — Thiseducaitona! packet pres- 
ent vital information on the policy issues that confront 
local government officials and cable programmers. 
The articles and documents in this packet put a particu- 
lar emphasis on the implications of the new cable law . 

1986 Hometown USA Bicycle Tour — This three- 
hour videotape presents some of the best local pro- 
grams that cable has to offer. All of the 13 programs 
were winners in the 1986 Hometown USA Video 

Ten-day Rental: $126.00 

Municipal Programming Showcase — This new 
30-minute videotape contains numerous examples of 
municipal programming at its best. 
Purchase: $100,00 Seven-day rental: $40.00 
After The Act — this 30-minute program examines 
the impact of the Cable Communications Policy Act of 
1984. It includes interviews with Sue Miller Buske, 
executive director of NFLCP, Joe Van Eaton, with the 
law firm of Spcigcl and VlcDiarmid; Michael Meyer- 
son, associate professor at the University of Baltimore; 
Nick Miller, witht he law firm of Miller and Young; 
and George Stoney, professor of film and video at New 
York University. 

Purchase: $100.00 Seven day rental: $40.00 

• • # 



This amazing 
book will plug 
you into the 
nationwide cable 
information network 

Five Major Sections 

Cable Programming Centers 

This section contains 1,100 locations 
which produce access and local 
origination programming. This 
section is designed for easy and 
quick reference. It contains — 

■ names, addresses and telephone 

• type of management entity 

• type of programming (i.e., public 
access, local origination, etc.) 

• annual operating budget 

• value of video production 

• number and types of channels 

• number of staff members 

• number of volunteers 

• type of training offered 

• number of studios 

• videotape formats used 

• hours per week of programming 

• plus Much More 

Analysis of Information About 
Community Programming Centers 

This section provides detailed charts 
and tables which provide valuable 
comparisons of information included 
in the C.P.C. section. Narrative 
paragraphs explain local cable 
programming trends. 

Free and Low- Cost Programming 

This section is divided into two 
subsections: full-length programs 
and public service announcements. 
It provides a comprehensive, 
descriptive listing of organizations, 
government agencies, associations 
and corporations which have free or 
low- cost programming. 

Satellite Services Directory 

This section provides a unique and 
up-to-date look at cable satellite 
services. It includes— 

• name and description of service 

• contact person, address and 
telephone number 

• type of service (i.e., Basic, Pay, etc.) 

• number of subscribers 

• number of programming hours 
per day 

• policy regarding acquisition of 
independent programming 

• percentage of total programming 
from independent producers 

International Programming Sources 

This section contains a listing of 
programming sources by country. It 
was compiled by Columbus 
Community Cable Access in 
Columbus, Ohio. 


NFLCP Membership — 
Your Ticket To Reduced 
Conference Registration Fees. 



-Community Associate/Student 

-Professional ($60) 


Non-profit organization ($108) 

Educational Institution ($108) 

Government Entities Population Size 

Under 100,000 ($120) 

100,000- 500,000 ($180) 

Over 500,000 ($240) 

("Government Entities" includes 
municipalities, states, counties and 
cable commissions). 

.Patron ($120) 

Charter Life ($608) 


Library ($108) 

For-profit organization ($180) 

Cable System or MSO 
No. of Subscribers 

Under 10,000 ($180) 

10,000 - 50,000 ($480) 

Over 50,000 ($720) 

("Cable System/MSO" includes cable 
company-operated access and local 
origination facilities). 


(or Organization) 



Phone ( 

Contact Person 

(please print) 

Slate _ 


(Organizational Members Only) 

Make your check/money order payable to NFLCP 

Mail to; National Federation of Local Cable Programmers 

906 Pennsylvania Ave., S.E. 

Washington, D.C. 20003 

Non-Profit Org. 
U.S. Postage 
Sacramento, CA 
Permit No. 2648 

Community Television Review 

906 Pennsylvania Avenue, S.E. 
Washington, D.C. 20003 

12/30/87 EDI CS 
Attn: Robert Huh 1 bach 

I n s t r u c t i on a 3. & Pu hi i t TV „ 
East Lansing, MI 48824